Toot! Toot!*: Jeff Fisher advice featured in Rockport book 'Design Matters: Portfolios 01'

Jeff Fisher, the Engineer of Creative Identity for the Portland-based design firm Jeff Fisher LogoMotives is cited as an expert in the new book Design Matters: Portfolios 01: An Essential Primer for Today's Competitive Market. The volume, released by Rockport Publishers, was written by Maura Keller of Keller Ink.

Design Matters: Portfolios 01 defines the core elements of self-promotion and portfolio creation and provides the insights graphic designers need to showcase their work in unique and creative ways. Case studies demonstrate the different techniques designers use to create successful portfolios for different audiences and measure the results of those efforts. The book also details how often portfolios should be updated and distributed and determine workable budgets to produce a great portfolio.

Fisher offers recommendations for portfolio creation and presentation in a book contribution titled "Portfolio Must Haves: Knowing when to stop and when to go." His expertise is recognized as the author of The Savvy Designer's Guide to Success: Ideas and tactics for a killer career, now available in a PDF format on CD from publisher HOW Books.

In addition to freelance writing for more than 50 publications for the past 10 years, author Maura Keller was a marketing communications writer for the award-winning design firm, Yamamoto Moss in Minneapolis. She has also written extensively on marketing and business-related topics for regional and national consumer and trade publications.

Fisher, a 32-year design industry veteran, is also the author of Identity Crisis!: 50 redesigns that transformed stale identities into successful brands. He is currently writing the book Logo Type, about typography in identity design, with a scheduled release in 2011.

The designer has received over 600 design awards and his work has been published in more than 140 books on identity design, self-promotion and the marketing of small businesses.

More information about Jeff Fisher, and his design and writing efforts, may be found on the Jeff Fisher LogoMotives blogfolio.

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

© 2010 Jeff Fisher LogoMotives

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Toot! Toot!*: Jeff Fisher featured in HOW Magazine article about corporate culture adaptation

Jeff Fisher, the Engineer of Creative Identity for the Portland-based design firm Jeff Fisher LogoMotives, is featured in an article in the "Creative Talent" issue of HOW Magazine. The piece, "Office Anthropologist," written by Julie Sims, appears in the August 2009 issue of the publication.

Sims, the director of communications strategy for The Creative Group, interviewed Fisher, author of The Savvy Designer’s Guide to Success, and Lionel Carreon, a recruiter for San Francisco-based digital marketing firm AKQA. The experts provided tips and tactics for creatives adapting to corporate cultures following the acceptance of new employment opportunities.

HOW Magazine strives to serve the business, technological and creative needs of graphic-design professionals. The magazine provides a practical mix of essential business information, up-to-date technological tips, the creative whys and hows behind noteworthy projects, and profiles of professionals who are influencing design. Founded in 1985, the HOW brand now extends beyond the print magazine to annual events for design professionals, yearly design competitions, digital products and books. The magazine is published in Cincinnati by F&W Media.

Designer Jeff Fisher is the author of Identity Crisis: 50 Redesigns That Transformed Stale Identities into Successful Brands (HOW Books, 2007). He has received over 600 regional, national and international graphic design awards for his logo and corporate identity efforts and his work is featured in more than over 100 books on the design of logos, the business of graphic design, and small business marketing. His first HOW Books offering, The Savvy Designer’s Guide to Success, appeared on bookstore shelves in late 2004, and has been re-released in PDF format on CD. Fisher is currently writing a book about typography in identity design.

In January, Fisher was named one of design industry publication Graphic Design USA’s “People to Watch in 2009.” In 2008, Jeff Fisher LogoMotives was recognized as one of the top 100 U.S. home-based businesses by the web presence StartupNation.

More information about Jeff Fisher, and his design and writing efforts, may be found on the Jeff Fisher LogoMotives blogfolio.

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

© 2009 Jeff Fisher LogoMotives

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The design firm name conundrum

What's in a name? A great deal when you are a graphic designer attempting to brand yourself for business purposes. Designers are often commenting to me about the difficulty in determining how to label themselves for business purposes. Others in the profession regularly post questions about the issue on online design forums.

Although I've been very happy to use the business name Jeff Fisher LogoMotives for the past ten years, I had the same struggle when first starting out in the design profession - and the challenges continued for a number of years.

When first moving to Portland in 1980, I created a simple red "jf" icon, making use of the font Tiffany, to be used on my resume and stationery items as I searched for my first design job. In the poor economy of the time there were no jobs to be had and I soon found myself taking on independent design projects from a variety of clients.

That's when I started playing with the possibility of creating a name for my design and art efforts. I came up with the term "art-werks, ink." as an umbrella name for what included my graphic design efforts, and the ink line drawings and silkscreen prints I was selling at galleries throughout the state of Oregon. The graphic was a simple image of a bottle of India ink with the top portion of the symbol creating the "A" letterform. The ink bottle seemed especially appropriate as I was often spilling bottles of the black substance all over the furnishings and carpet of my home. I had a rubber stamp made of the ink bottle icon in a circle and would often use the stamped identity imagery on business correspondence. The type was a somewhat phonetic treatment of the business name in Avant Garde.

Following the career interuption of my first "real" job as art director of a group of medical publications, I again needed to establish an image for myself for the contract work I was then doing above and beyond a then current ad agency art director position. I revisited the image I used on my resume about four years earlier. "Jeff Fisher Graphic Design" was the name being used at the time.

A move to Seattle in 1985 resulted in a lot of changes. My partner, at the time, was selling menu design and production services. As restaurant identity and menu design work began coming my way I toyed with the idea of marketing myself as "MenuGraphix." It seemed to be a little too limiting as far as attracting new clientele outside of the restaurant industry. I then introduced myself as "Ad Ventures, Ink."

Once again a pesky traditional employment situation, this time as creative director of a clothing company, got in the way of seriously making use of the new business moniker.

It was about this time that I first tossed out the name "Logo Motive" as a possible business identification. It was met with nothing but negative feedback from family, friends and clients. The name, and the created logo image, was used in one print ad and shelved. I was nearly a decade into my career as a professional designer and all felt I should be using my own name to capitalize on my design reputation.

In the late 80's I moved back to Portland and, while maintaining my Seattle clientele, I needed to reintroduce myself to the Portland market. Initially I used the previous identity with the red "jf." However, it felt dated and I soon was using a very simple treatment of "Jeff Fisher" in Kabel. About four years later I resurrected the idea of using "Logo Motive" again. In Portland the concept was met with the same enthusiasm I experienced in Seattle - and I filed the revised images away.

A couple years later I hit a design career "speed bump." I was feeling bored with my profession and probably experiencing a bit of "burnout" after working in design for nearly 20 years. In re-evaluating my professional options I determined I really wanted to focus on identity design.

The old "Logo Motive" concept came out for another look. By fine-tuning the locomotive image, maintaining the use of the font Kabel, adding "Jeff Fisher" to the graphic, and putting an "s" to what was now the single word "LogoMotive," the business identity for "Jeff Fisher LogoMotives" was born. The best thing about the business name and logo is that my target client audience is told who I am and what I do.

Had I listened to my "gut instincts" about a possible business name - instead of the feedback from others around me - I might have established a stronger, and more permanent, business image much earlier. Instead, I was my own worst, wishy-washy client. Still, the end result was worth the effort and is still chugging along the tracks after a decade of use. I don't think I'll be changing it any time soon.

© 2008 Jeff Fisher LogoMotives

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Signing on the dotted line...

I often get email requests regarding my graphic design contract. First of all, I refer to mine as a "project agreement" - the term sounds a bit friendlier than "contract," but still shows that I mean business. I have found that my agreement has become a great "pre-qualifier" of clients. When sending out one of my promotional packets to potential clients I always include a copy of the document. Just including the agreement will show potential clients there is a seriousness to the possible business relationship.

My project agreement is created in a way that I can adapt it to the the specific requirements of a particular project. The basic document is below. Until recently it was posted on a graphic design forum site. With an overhaul of the content, the project agreement is no longer available on that site. I'm posting it here as a resource for other designers to "use and abuse."

.........................................................................................................

Client contact name:

Business name:

Address:

City/State/Country/Postal Code:

Phone/Email/Fax:

PROJECT DESCRIPTION:

(Insert your itemized description of the project here)

ESTIMATED COSTS:

__ Labor fees (design, art direction, production, copywriting, client services, etc.) are estimated at a total of $_________ or ____ see attached estimate sheet for specifications.

__ Consultation fees are estimated at a total of $ __________ or ____ see attached estimate sheet for specifications.

__ Materials costs (RC/film/neg output, scanning, project specific materials, etc.) are estimated at a total of $__________ or ___ see attached estimate sheet for specifications.

Total estimated cost of project: $____________

Project estimates are valid for 90 days from the date of estimate. Project may be reestimated if, upon receipt of all project elements, the designer determines the scope of the project has been altered dramatically from the originally agreed upon concept. Printing fees will be estimated separately and payment arrangements made between client and printer.

PAYMENT SCHEDULE:

__ A deposit in an amount equal to 35% of the total estimated cost is requested prior to execution of the project ($__________).

__ Payment in full or the remaining balance is to be paid upon delivery of the completed project. A cash discount of 5% of the total project labor and consultation cost is offered to clients paying upon delivery of the finished project.

__ Payment in full or the remaining balance is to be paid 15 days from receipt of the final invoice for the completed project. Finance charge of 1.5% per month (18% annually) on all overdue balances.

__ Additional payment arrangements:

REPRODUCTION OF WORK:

__ The client assumes full reproduction rights upon payment for completed project.

__ One time reproduction rights for the specified project, at the agreed fee, are granted to the client. Any other usage must be negotiated.

__ All reproduction rights on the copyrighted work are retained by the designer. The work may not be reproduced in any form without consent from the designer.

__ The designer retains personal rights to use the completed project and any preliminary designs for the purpose of design competitions, future publications on design, educational purposes and the marketing of the designer's business. Where applicable the client will be given any necessary credit for usage of the project elements.

REJECTION/CANCELLATION OF PROJECT:

The client shall not unreasonably withhold acceptance of, or payment for, the project. If, prior to completion of the project, the client observes any nonconformance with the design plan, the designer must be promptly notified, allowing for necessary corrections. Rejection of the completed project or cancellation during its execution will result in forfeiture of deposit and the possible billing for all additional labor or expenses to date. All elements of the project must then be returned to the designer. Any usage by the client of those design elements will result in appropriate legal action. Client shall bear all costs, expenses, and reasonable attorney's fees in any action brought to recover payment under this contract or in which (Insert your company name) may become a party by reason of this contract.

COMPLETION/DELIVERY OF PROJECT

The estimated completion date the project is ______________. Any shipping or insurance costs will be assumed by the client. Any alteration or deviation from the above specifications involving extra costs will be executed only upon approval with the client. Any delay in the completion of the project due to actions or negligence of client, unusual transportation delays, unforeseen illness, or external forces beyond the control of the designer, shall entitle the designer to extend the completion/delivery date, upon notifying the client, by the time equivalent to the period of such delay.

ACCEPTANCE OF AGREEMENT:

The above prices, specifications and conditions are hereby accepted. The designer is authorized to execute the project as outlined in this agreement. Payment will be made as proposed above.

Client's signature:

Designer's signature:

Date:

..........................................................................................................

Remember, the above is simply a guide to follow. Your own design business may have other specific issues to include in a final contract document. My agreement is kept to one page for the sake of simplicity. I would also suggest having an attorney take a look at your completed agreement prior to putting it in use.

Some additional valuable resources for project agreement/contract information include the Creative Latitude "Resources", Creative- Business, CreativePublic and the AIGA Design Business and Ethics web page.

Books providing excellent business advice include Business and Legal Forms for Graphic Designers, by Tad Crawford and Eva Doman Bruck (with a CD of business form templates); Graphic Artists Guild Handbook: Pricing and Ethical Guidelines; Graphic Designer’s Guide to Pricing, Estimating & Budgeting, by Theo Stephan Williams; The Business of Graphic Design, by Ed Gold; and Cameron Foote's books The Business Side of Creativity and The Creative Business Guide to Running a Graphic Design Business. Of course, The Savvy Designer's Guide to Success is a very good resource as well.

This post was originally posted on bLog-oMotives in 2006.

© 2008 Jeff Fisher LogoMotives

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Toot! Toot!*:Portfolio site DesignHide interview shinesspotlight on Jeff Fisher LogoMotives

The design industry portfolio site DesignHide is currently featuring Jeff Fisher LogoMotives as its Designer Spotlight for the month of July. Fisher is interviewed about his 30-year career, his major considerations in initiating identity design projects, advice for others starting a design career, and more. DesignHide is defined as an online resource for "creative media producers, including web designers, graphic artists, videographers, print media producers, photographers, artists, and ad managers, to display their work with the end goal of attracting new business opportunities."

As noted on the DesignHide Spotlight page, "Every month we choose a design company from within the DesignHide community that characterizes the qualities of "creative, attractive, effective design." We base this evaluation on the website of the designer, their portfolio, and their work on DesignHide. We look at hundreds of designers, many of whom have incredible portfolios, but we think that the designers featured in our Spotlight represent the best of the best." Fisher does have a portfolio posted on the DesignHide website. The designer recently included DesignHide as an online showcase possibility for designers in his blog article Marketing logo design efforts with online resources.

Jeff Fisher has received nearly 600 regional, national and international graphic design awards for his logo and corporate identity efforts. His work is featured in over 100 books on the design of logos, the business of graphic design, and small business marketing.

Fisher is a member of the HOW Design Conference Advisory Council and the UCDA Designer Magazine Editorial Advisory Board, and served on the HOW Magazine Editorial Advisory Board,. His book, Identity Crisis!: 50 Redesigns That Transformed Stale Identities into Successful Brands, was recently released by HOW Books. His first volume, The Savvy Designer’s Guide to Success, appeared on bookstore shelves in late 2004.

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

© 2008 Jeff Fisher LogoMotives

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To market, to market, to get design gigs?

On several online forums, in recent face-to-face discussions with designers, and in numerous emails the past few weeks, the question has been the same: "How should an independent graphic designer go about marketing themselves?"

I don't pretend to have all the answers for every business. However, the most successful methods for promoting my business are listed below. Hopefully others will find some valuable advice and tools for bringing clients their way.

Industry design competitions: The majority of my marketing budget goes to cover entry fees in industry design competitions. Having pieces honored results in work being printed in design annuals and other design books. I have at least one potential client a week contact me because they have seen my work in a design book at their local bookstore. It also gives you "bragging rights" for press releases announcing your career accomplishments. Do be cautious of "design contests" that are nothing more than "spec" work in disguise.

Press releases: One of my major methods of marketing/promotion is sending out press releases about my work. Make a list of newspaper and magazine editors in your area, and the editors of design and business publications you wish to contact, and send out releases about your business - announcing a new business, new clients, completed projects, design awards and other accomplishments. Seek out press release distribution opportunities online as well such as PRweb.com or PRleap.com. Developing relationships with editors, and design or business editors, creates a number of possibilities for future media exposure of one's work and business. I also send out my press releases in email format to past clients, current clients, potential clients who have contacted me, vendors, friends and family. You never know when someone needs to be "reminded" that your services are available.

Networking: Make EVERYONE you know aware of what you are doing - family, friends, neighbors, former clients, local businesses, and others. Join a local business organization, Chamber of Commerce, industry related organization (International Association of Business Communicators, local ad federations, marketing associations, Women in Communications, public relations organizations, AD2, etc.) and network with people who may need your services. ALWAYS carry your biz card with you. Part of networking is participating in online forums specific to design or business.

Blog: These days my most effective marketing tool is my blog - which is done a no cost. Still, it gets me a great deal of exposure and brings a large number of clients my way. It also directs writers and editors my way who want to use me as a resource or write about my blog. (I just did a Google search for my blog's name and 65,400 references were found.)

Website: I am surprised at the number of independent designers I come across who do not have a web presence. If you don't have a website you had better get one established. Your potential clients will EXPECT it. Most of my clients come to me by way of my website - after reading about me or seeing my work elsewhere - and 80-85% are from outside my home state.

Online directories: Make use of free and paid online directories to get your name and contact info out to possible clients. (Watch for a blog entry about online directories in the near future.)

Work with nonprofits: A good way to promote your business is to do pro bono, or discounted, work for nonprofit causes you support. You should get a credit on all the pieces being produced for the organization. You also have the opportunity to meet a lot of business leaders in the community who serve of the board of directors or are involved with the group. I discourage designers from ever doing free work for "for profit" ventures. In doing so you convey that your work has little or no value - and that's what they will remember if you go back to them for future projects.

Being the expert: Writing articles for publications, making yourself available to the media as an industry expert and being a speaker are all excellent methods of promotion. I was once contacted by a potential client who was given my name by someone who had heard me speak to a group of Small Business Development Center educators FOUR YEARS earlier! Establishing relationships with editors has been a great marketing tool for me. I was recently contacted by a writer for a major business magazine. He remembered me being quoted in an article on a website five years ago and sought me out. Such exposure always results in new client possibilities. When editors or writers contact me for quotes or illustrative content I usually drop everything to make what they need happen. Most such offers have a limited "shelf life."

Direct Mail: Target the businesses with which you would like to work and send them a postcard, brochure or flyer about your services. It's been over 15 years since I've done so, but when I did I had ten new clients over a period of several weeks and I was still getting work from the one 750-piece mailing five years later.

For me it's all about spending as little as possible to market/promote my efforts for maximum exposure and results. My work is constantly promoting itself - with minimum effort by me. I do dedicate at least half of each Friday - the day each week that I have no client contact - to marketing and promotion.

As I mentioned earlier, this is not the "be all, end all" list of marketing and promotion possibilities for the independent designer. Still, the suggestions should be helpful in getting you started with some marketing efforts.

Note: This article originally appeared on bLog-oMotives in 2006. For additional information and suggestions, check out some of my other blog entries on the topic of self-promotion.

© 2008 Jeff Fisher LogoMotives

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