Show Your Gratitude

Over the past few weeks, I have felt an overwhelming rush of gratitude for the people in my life.  They are all from different backgrounds, industries and parts of the world.  And I am so thankful that they are a part of my life.  This week, I took the time to give a select group of people written affirmations and thank yous.  It was a very small gesture in comparison to what they have done for me, and I wanted simply to tell them how much I have appreciated their presence in my life.  While I thought it was a very small gesture, it turns out that it meant a lot to them.  They thanked me in person, smiled and a few even offered me a hug.

Today, as  I start looking towards the weekend, I paused on the thought that this should not be a rare occurrence.  How often do we share our gratitude with those that make our lives enjoyable?  Especially professionally? We expect thank you notes for interviews, wedding gifts, baby showers, and birthdays.  But wouldn’t it be a great thing to offer words of written gratitude to those with whom we spend so much of our time professionally?

If you have a client, creative, or even coworker that has treated you kindly, give them a written affirmation.  It doesn’t have to be elaborate or use beautiful handwriting.  But it could very well mean a lot to the recipient.  Just a few minutes of your time can mean so much to someone.  At least, that’s what I’ve been told this week.

Bravery and Fear

Bravery and fear are interesting things to study.  What makes us act bravely, or shrink in fear?  What foundational experiences make it easier to act bravely, versus live with fear?  Similarly, what makes a client and creative choose a bold color?  One that makes the product stand out on a store’s shelf, instead of blending amongst the competition?

There are plenty of quotes about bravery and fear.  They both can be larger than life, or every day little things.  While I wouldn’t label myself a particularly brave person, some of the activities and adventures in my life have caused others to label me as such.  This makes me think that one man’s fear is another man’s play.  Just as one man’s trash is another man’s treasure, so too can we embark on journeys that make others nervous because they seem too brave.

When and how do we act bravely when needed?  If a creative brings us an idea that we feel is too bold, do we let the idea exist?  Do we give it a chance to live in a state of possibility or do we kill it quickly?  How do creatives get the courage to act bravely in bringing clients bold ideas?

Personally, I believe that information and trusted relationships make those things we fear feel like play.  When we have the information we need, we’re better prepared to act.  And when we act with those whom we trust, we are more likely to take seemingly large risks because we are not acting alone.

Sometimes it’s easy to live in a state of fear.  It feels safer than taking bold actions.  Then again, some times it’s easy to accept a challenge and act bravely for the adrenaline rush. You feel a sense of freedom from the fear that previously bound you. What brave actions have you taken as a client or creative?  When did you instead accept fear?  How did you feel about the action your took?

You gain strength, courage, and confidence by every experience in which you really stop to look fear in the face. You must do the thing which you think you cannot do.

– Eleanor Roosevelt

Praise

Working with someone you really appreciate?  They may have undeniable creative talent, project management skills, the gift of gab, or spunk and personality that you crave when you’re not around them.  Celebrate them!

Give that person, agency or client a shout out when you can.  A LinkedIn recommendation.  Or a tweet that confesses how much you enjoy working with them.  Offer to write a testimonial.  Let them interview you so they can write a case study.  Find a way to give them a pat on the back.

When someone goes above and beyond, find a way to reward them.  You just may find that sharing the praise uplifts your own spirits.

When Things Go Wrong

Sometimes projects go wrong.  It happens.  And it can happen for a multitude of reasons.  Some of the folks in my life say it’s not the person that fails, it’s typically the process.  Blame the process, not the person.  But, let’s be honest with each other, how often does that happen?  Many people decide it’s easier to blame the person.  Usually fingers get pointed, and bridges get burned when a project (uhem, process) goes wrong.

So when a project goes wrong, we must find a way to warn each other before it gets too out of hand or off track.  What’s the client’s warning system for the creative?  What’s the creative’s warning system for the client?  At what point do we cut bait and move on?  How do we prevent that from happening?

A healthy working relationship requires a lot of things, and having a warning system in place is key to helping right things before they go wrong.  There are so many warning/prevention comparisons easily identifiable: inclimate weather warnings for hurricane (preparation of kits and evacuation routes), fire preparation methods like running drills (and remembering to “stop, drop and roll” before you catch on fire), regular preventative maintenance on our vehicles (and even carrying a spare tire in the trunk), flag warning systems in sports, etc. The list goes on and on.  All of these things have in common the preparation for unexpected situations that require immediate action.

What systems do we as clients and creatives have in place to help our working relationship.  What drills are we running to be sure we’re prepared when the time comes?  You may feel that it’s not life-threatening (like preparing for an F5 tornado), but it can be life-altering when a project goes wrong.  The client may never want to speak to the creative again.  That’s drastic, but it happens.  And even worse, the client will never recommend the creative to others.  In fact, they’ll go out of their way to recommend not using that creative.  Over time the creative’s reputation gets damaged, and they suddenly find it hard to bring in new work.  Mysteriously funding streams dry up, and the phone stops ringing all the time.  That’s the extreme case.  But, being really prepared, and having these warning/prevention methods helps us all work better together.

It is up to both creatives and the clients to create and implement a system that works.  And the system can take many forms.  Some creatives use a brief or scope of work.  Some clients and creatives spend a long time getting to know one another before the bid is awarded.  Others give one small project to test out the relationship, not too different from dating someone before you marry them.  The bottom line is finding a way to make sure the relationship is protected before things go wrong.

Find a word that can be used.  Set up parameters and means of communication that help you clearly communicate when a project is not going the way you expected.  And don’t be afraid to say, “This isn’t working well for me anymore.  Here’s the number of someone that can serve you better.”

Lessons for Creatives

• Take the time to fill out a scope of work or creative brief to track client expectations.
• Be prepared to handle the situation when the scope changes during the project.
• Have a warning system in place, that’s clearly communicated to your clients, to prepare for when things go wrong.
• Don’t be afraid to end the project early if you feel you can’t serve your client well, but do it diplomatically.  Don’t disappear or leave them hanging.  (If you have trouble with these types of things, find a business partner or mentor that can give you tips on how to make it work better.)
• If a client gives you “free reign” to be creative, keep in mind that they probably do have a clear vision of the final result. Do your best to give them samples to help them narrow the focus.

Lessons for Clients

• Be sure you have written, clearly communicated expectations. This helps protect the interest of both parties.
• Be prepared to handle the situation when the scope changes during the project. Are you prepared to pay extra costs that you’re likely to incur if the scope of work dramatically changes?
• Offer to provide samples of the final product you’re hoping to see delivered.  You may define the grunge look differently than your creative.  You may see only one shade of brick red, but there are many more out there.  Use visual samples (both printed and digital) to help you communicate the look you want.
• Make sure you’ve found a way to communicate with your creative most effectively. (Do they never answer the phone, but respond ASAP to emails? Then email is likely the best way to reach them.)
• Don’t be afraid to end the project early if you’re not getting what you need, but do make sure you’ve worked with the creative as best as you can before you move on.  And if things didn’t go too terribly wrong, give them another shot again later.  Perhaps you didn’t clearly communicate what you wanted.  There are a million ways a project can go wrong, and it’s on your shoulders just as much as it is on the creative’s shoulders to make sure it’s a success.

Have something to add?  Disagree with what I’ve said?  Let me know.  I love feedback.

Design Process

My life recently, more than ever before, has been centered around documented processes.  In my personal life, I’ve been documenting the process by which my improv team creates it’s marketing materials.  When do we need to do a photo shoot in order to make it into a poster?) On my documentary film, I’ve been a student of the process by which a film actually gets made.  Where in the process does an idea for a film die?  Or, how does it make it through the whole process, acutally get released it a the theater, and then thrive (or die again).  Yes, process has been a life-long fascination of mine.

There is a process to everything, whether we take the time to see it or not.  There are lengthy processes, and very short ones.  There are complex processes, and very simple ones.  And there are many different forms of creative processes, some of which are very rarely understood.  

For a spell, I was a designer at a firm that actually understood it.  My creative director, Jim Grosslight, was full of brilliant ideas.  He new that ideas came from many different places, and at many different times.  He was childlike in his enthusiasm and creativity.  I learned a lot from him, and have always been grateful for the chance to work with someone like that.  It wasn’t until I left that position that I really appreciated it, though.  Isn’t that always the case?  

I now understand that the creative process widely misunderstood.  In fact, it can be quite scary to some people.  And, even if the client and the creative both understand and respect the process, it can still fail.  There are other people involved in the actual approval process that can kill a great idea before it has a moment to live and breathe.

Fast Company, one of my favorite publications, recently published an article about a conversation between a designer, Dustin Curtis, and an employee of American Airlines.  It’s quite fascinating, but I won’t go into great detail because you should read it all for yourself.  (Links are at the end.)

What it revealed to me is very exciting.  We are entering, or already in, an age where conversation, knowledge and design are becoming paramount.  We are in an age where everyone has a voice, where ideas can be shared and become viral, and movements can gain strength and lead to real change.  (Dare I say that we are in an age where people will start to understand and respect the creative process more than ever before in our human history?)  

What does all of this mean for clients and creatives?  The rules are changing.  We must be adaptable, and open minded.  We must always play at the height of our intelligence.  We must seek to genuinely understand one another, and how our talents can help (or harm) one another.  

It’s the client’s responsibility to recognize the approval process before beginning a project with a creative.  It’s the creative’s responsibility to be sure to ask the client about the approval process before they get their wheels spinning.  Just like a film can die before it ever makes it into the theater, a delightfully brilliant creative idea can die before it every makes it to completion.  It’s up to us, working together, to make sure we have a process that helps us all succeed at what we do best.

It takes an incredible amount of focus, drive, transparency, education, honesty and integrity.  And it can be exhausting.  But, I firmly believe that these are the steps that lead us all to great work–together.  We are in a world of possibility.  What process enables you to do your best work, and how can you repeat it?

Relevant Links:

1. American Airlines Web Site: The Product of a Self-Defeating Design Process
2. Dear American Airlines 
3. Dear Dustin Curtis

The Art of Critiques, Part 2

My last post was about the art of critiques, specifically giving feedback to creatives.  This time, it’s the creatives turn: how to take crit and stay classy.  This comes from many, many years of personal experience having been raised by creatives and then going to school for it as well, but I’m sure there are plenty of tips to add.  The challenge is learning to take feedback in, with patience and full attentiveness without getting emotional or taking it personally.

Here are four things you can do to practice the art of critiques:

1. Assess the level of expertise of your audience

When receiving feedback, think about who’s talking to you before they start speaking. This is a little trick I do seconds before waves of feedback head in my direction. “This is coming from my mentor; I must really hear what he’s about to say,” is usually what goes through my mind before he makes  a suggestion.  But, just like tips for speaking in public, you have to pick what works best for you.  It also doesn’t mean you make assumptions about a person’s qualifications, or dismiss something from someone you think is unqualified. Gems of knowledge and advice can come from many unexpected places, quite often the most unexpected places. It simply means that you assess the information coming your way, and filter it so that you make the best use of the information. Trust your training, experience and knowledge to help you make the most of the critique.

2. Listen

We have two ears and one mouth for a reason, right?  It’s so we can hear well, but hearing doesn’t mean you’re listening. Do whatever it is you need to do so that you really listen to the feedback as it comes in. This might mean you record the session so you can hear the words again later.  This might mean you have to take notes so it sinks in.  It might mean you have to restrain your thoughts and mouth so that the person can actually get a word in.  Whatever it is you have to do, do it so that you can listen to what the person is saying.

3. Wait before you respond, and ask questions

This is an interpersonnal communications trick I learned somewhere along the way.  I think it was in college during my public speaking class. My teacher told us to wait 30 seconds after asking, “Are there any questions?”  That was the length of time it takes for someone to work up the courage to speak up.  How does it apply here?  If you wait before responding, you’ll help the person prividing feedback transition into the question round. If you jump in to add your two cents while he or she is still speaking, you’re interrupting.  You’re derailing that person’s train of thought.  Give them the respect and the time to finish their thought process, let it sink in, and then ask questions. 

4. Base the feedback on the original scope of work

Creatives, if you’re not requiring the use of a creative brief, then start today.  There are times where it’s not applicable, sure.  But it’s the type of document that helps protect you and your relationships.  Countless times I have had a project change shape just before a deadline. In fact, it happened to me very recently. It can seriously damage a relationship.  If expectations have changed, it means you can’t exceed the expectations.  If you document the original scope of work in some way, shape or form, then you’re more likely to succeed.  Give yourself the tools you need to do your job really well.  Because if you do the job really well, you’re likely to get another job and another one and another one. So, when you start to get this feedback, make sure it’s based on the original scope of work.  It’s unfair to creatives and clients alike to go through the critique based on expectations that have changed.

5. Don’t take it personally

Remember, this work is business. You’re a commissioned artist. Feedback should not be an attack on you personally, or the work you’re doing.  So, if it starts to feel personal, if you feel your blood pressure rising, take a deep breath first.  Take a deep breath, find a way to wait before responding.  Take a day if you need it.  Just don’t take it personally.  

Any additional tips?

There are so many additional tips on how to give and provide feedback successfully.  Feel free to add comments, or share your story.  I’m always interested in getting feedback since it’s the way we lead to improvements.

The Art of Critiques

I respect a person that can give / take criticism well.  It usually means they are open minded, mature and don’t have an ego too big to fit through the door.  And that’s the type of person I not only want on my team, but the type of person I want to be as well.

Giving / taking criticism well is an art.  (Which is why it’s a great quality in a leader.)  So what does it mean to participate in a critique?  Everyone has the same, clearly defined expectations.  Everyone enters the space (whether it’s in person or online) with the same rules: be professional, don’t take criticism personally, base critique on the original scope of work, and provide valuable feedback that leads to improvements.  What a wonderful world that would be!

How do we make this happen in the workplace?  In a world where everyone has different backgrounds, agendas, and deadlines it can be very difficult to make a critique that successful.  That’s why I believe so strongly in what my mom continues to call a “point of reference” in conversation.  It’s important to slow down and make sure we’re communicating effectively.

The following are tips for clients to make the most of critiques (or providing basic feedback), but I welcome any additions you have:

1. Assess the level of expertise of your audience

Are you working with: an experienced creative, familiar with your industry; someone at the beginning of his design career; or someone representing the designer, who might have little to no design experience?  The way you provide feedback should be based on the person to whom you are speaking.  Someone with many years of experience will receive feedback differently than someone at the beginning of his career.  

2. Guage how your feedback will be received

This is very similar to #1 because you’re tailoring what you say to your specific audience.  However, instead of level of experience, we’ll focus on the actual person to whom you’re providing feedback.  

I’m a huge fan of Cesar Millan, the Dog Whisperer.  He can sense the energy of a dog without hesitation.  This is a talent we must have when providing feedback, in relation to people, of course.  Be sure you tailor your feedback to the person, and their state of mind.  If you provide harsh criticism to someone on edge, it is not likely to be well received. And then the project can quickly derail. 

Remember, it’s a collaborative effort.  You don’t want to be the client who waits to provide feedback until the last minute, and then expect the creative to work a miracle in 24 hours.  I say this because I have been on both sides of the equation, and it makes for a challenging relationship–one that is not likely to be long term, and that hurts both the creative and the client in many different ways.

3. Make sure you’re not providing feedback just to feel valuable

Some people make the mistake of suggesting changes because they feel that’s what they have to do.  This is usually an ego problem, and not really a design problem.  (And yes, I’m calling it a problem and not a challenge.)  Some clients feel the need to suggest changes because they have been asked for feedback.  Just because you’ve been asked for feedback doesn’t mean that you now have to provide direction that leads to a complete rework of the project.  If you like it the way it is, tell the creative that.  This happens so rarely, they would likely be ecstatic!  But keep in mind, creative work is a strategic, collaborative effort.  Take the time to think about your response before you quickly sign off.  You may feel that it’s perfect right now because it’s 4:45pm, but tomorrow morning you might come in and see a few things to tweak.  Be sure you give yourself enough lead time to help you both do your best work.

4. Base your feedback on the original scope of work

Filling out a creative brief is a way that agencies and freelancers make sure they keep the project on track.  I know the value of a creative brief because I’ve seen clients change direction time and time again.  The creative brief helps the client and creative stay on track.  It’s unfair and unfortunate that some clients judge the creative work based on their own changed expectations.  Clearly defining expectations–in written form–will help everyone succeed in the end.  

If you have additions of your own, please add them! I’ll soon provide tips for creatives to make the most of critiques. Stay tuned.

Taking Initiative

Taking initiative is tough, isn’t it?  You know the changes you want to see, but actually doing it is another thing.  I’m talking about initiative across the board: weight loss, gardening, cleaning house, getting new clients.  It’s a challenge because it means we have to step outside of our comfort zone to do it.  I’ll admit that I’d rather be cuddled up on the couch with my dog than outside trimming the hedges.  But there’s a certain level of joy one experiences after causing that initial change.  That is the thing we should hang on to when we hesitate before taking the iniative again.

Remember the pebble and ripples cliche?  It only takes one small pebble to create ripples seen across the whole lake, right?  They even make posters about it.  It’s meant to make us feel like we can make a difference, even if we’re just one person.  What those posters and quotes leave out, though, is what happens before the pebble hits the water: we have to get up, walk to find a pebble, bend down to pick up a pebble, and then throw it into the lake.  That’s four whole steps left out before those little ripples are ever seen.

No doubt, taking initiative is tough.  It takes committment to eat less, exercise more.  It takes hustling to create free time to delight in gardening.  Some times it takes a planned dinner party before the house gets cleaned up.  So, if taking initiative on those things is a challenge, then how in the world do we expect to find (much less keep) new clients in need of creative work?

When I freelanced, I found that I was much better at getting the work than actually sitting down to do it.  New projects came to me so easily; it was quite magical.  I ended up being good at sales because I was selling something I believed in: design that works.  So, if I proclaim to have been so good at getting new jobs, then why did I stop freelancing?  Well, it’s pretty simple.  I wasn’t able to provide the level of customer service I would have expected as a client.  I wasn’t able to give people what I would have expected to get, so I stopped doing it.

Now I’m on the client side.  And I expect my creatives to take the initiative to keep my business.

That initiative translates into: returning phone calls or emails in a timely manner, communicating that you need or have enough information to do your job, exceeding my expectations at every turn, helping make the client look good because they hired you (and their reputation is on the line if you fail), bringing them your best ideas, making sure they don’t take advantage of you (and vice versa), and helping protect their company’s integrity by using your integrity and morals (not copying things from the web, designing visuals that look like the competitors, etc.).

There’s no doubt that taking the initiative is a challenge.  I think that’s why so few of us do it, but those that do get rewarded handsomely.  It’s an act of leadership, taking intiative.  I genuinely believe that taking the initiative will be rewarded.  So, cheers to you, creatives.  Go forth, and take that first step in finding the pebble to throw into the lake.

Lessons for Creatives
Take the initiative today.  Call someone, introduce yourself, and start networking.  Make a promise, and keep it.  Do superb work, and more will come your way.

The Rules of the Game

Once upon a time I worked for a man I didn’t understand. And being the book worm that I am, I went to the library to do research about how men think and found a business-related book for women surrounded by men. It was interesting, and fairly eye-opening from what I remember (although I have since forgotten the name of the book). What I recalled over the past weekend was the book’s message about unwritten rules that women unwittingly break.  Rules that, according to the author, boys learned when they were against other boys while playing games and girls were peacefully playing together with dolls.  This won’t become a nature/nurture discourse, but I do want to explore the idea of breaking unwritten rules.

Being an improviser, I feel incredibly attentive to unwritten rules. A big part of improv is discerning the patterns as they unfold (since it is all improvised), or quickly learning the rules of the game so you can follow or exploit them. But if you don’t recognize the rules, you can’t have fun with them–whether to follow, break or exploit them.

Lately, with a lot of changes in every aspect of my life, I find myself in a space where I don’t know the rules of the game. So, I’m in uncharted territory as it were. This leads to a little second-guessing and slowed forward movement, which makes me ponder how many creatives and clients feel they are in uncharted territory.

When we don’t know the rules of the game, do we second-guess our steps instead of moving with bold confidence?  Does the act of not knowing waste our time and energy, instead of helping us move forward together? Where are the unwritten rules written down for the curious and eager? How do we follow the rules if we don’t know them? And what happens when we break one of the rules?

There are no answers in this post, today. Only fodder for exploration. So, please, feel free to share your thoughts or resources on where creatives and clients can learn more.

In Honor of KISS

If you haven’t heard of the K.I.S.S. principle, know that it typically translates to Keep It Simple, Stupid.  In honor of that principle, I’d like to share an idea with you about how clients and creatives can work better together: trust and be trustworthy.  That’s it, plain and simple. We need people in our lives that we can trust–with our ideas, passions, reputations, livelihoods, and more.

Clients want to hire creatives that can be trusted with a corporate or personal image (someone to manage a print project so the corporate logo is the right color, for example).  Clients need creatives that can be trusted to meet deadlines when they say they will–no excuses (because they have someone relying on them as well).

Creatives need clients that will trust them enough (to provide creative freedom) that leads to stellar work, and not just another cookie-cutter design project.  Creatives need communities they can trust to provide honest and worthwhile constructive criticism.

The bottom line?  Working better together boils down to trusted relationships, plain and simple. So trust and be trustworthy.