A design job listing included this statement: Special considerations will be given for (art school name) alumni.

There is little to be criticized in having a preference for specific educational backgrounds and skill sets that will blend well with a hiring comany’s needs. Predisposition and special consideration is a common practice. In the fields of business, law, accounting, technology, science and medicine, many of which require education and on-the-job experience in order to be licensed or certified, where one went to school carries weight in hiring practies. GPAs are important qualifications and are a commonly used filter for making hiring decisions  In the design fields, GPA is not a prime consideration, but degree achievement is a common criteria. Above all, the portfolio is regarded as proof of ability and experience.

Given the academic standards, breadth and depth of curriculum, degree of excellence in design thinking and craft, and the focal strangths of individual curriculums, it’s realistic to expect much from graduates of certain design schools. All curriculum are not equal. All canddiatate are not equal. One can be a good designer and not have had formal training, but when one comes out of a school which maintains a world-class reputation, it is reasonable to expect him or her to live up to it.

The concern here is in the publication of the preference. If a hiring firm wants to give special consideration to candidates from a specific school, that’s its right. But then it should carry on its notification processes within the sphere of that school’s alumni and career counseling office rather than broadcast it to the job-seeking design population at large. Although it may not intend to exclude, it will in fact, do so. Job seekers wil assume they have no chance and therefore not apply, and it may or may not increase the pool of candidates from the preferred school.

No matter what the hiring criteria might be, it’s unwise, for a company to disclose preference for specific alumni in a job posting. Special consideration, when stated outright, does not promote equal opportunity or good will. It makes a company’s reputation suspect and can set the stage for lawsuits.

There are other businesses do exactly what yours does. The customer you seek has choices, and may or may not choose you. What will get you noticed? Your business needs to stand out and separate from the rest of the crowd. It needs to be the anomaly.

An anomaly is something that deviates from what is normal, standard or expected. Much of the time we think of anomalies as undesirable: Fitting in is better than standing out. Standing out makes you a target, unacceptable or open to ridicule. But in marketing and promoting your business, fitting in does nothing to grow your business.

Being different is one thing. Being different in a marketplace in which every other business is trying to be different is the key. One way to stand out is through effective design solutions specifically tailored to your business and your audience. You won’t find effective graphics through a crowdsourcing site or by holding a contest. The prevalence of stock photography, motion, illustration and canned logos is not going to help you stand out. The plethora of visual sameness lulls your audience to sleep. Wake them up with custom design specifically tailored to your business. Custom design solutions will differentiate your enterprise and increase its influence in the marketplace.

Make the investment. Be the anomaly.

Some projects just don’t fit me well. There are things I’m really good at and things that I’m not. I want to be effective at what I do, and that involves doing the right thing at the right time in the right place.

When a client wants something that I know I can deliver although it might stretch me and I might have to invest extra effort and time, I’ll take it on. But at the point that I realize what they want is simply too far out of my sweet spot for me to be effective, I need to make a decision. Do I continue onward or let it go?

Letting it go is the more courageous choice. This requires recognizing my strengths and weaknesses and being willing to experience discomfort in order to solve the client’s problem. This is not a bad thing… but when I know that the return will not match the effort, or the client could end up dissatisfied, the best thing to do is to face it, and offer an alternative. Clients trust honesty.

I took on a project to create some illustrations for a plastic surgery after-market product launch. In the process of iteration and reiteration, the client began re-defining their purpose and market, and I knew that I was no longer the right designer for the work. I am a realistic, narrative illustrator and the re-defined project needed a fashion illustrator. What they wanted was not realism but stylized fantasy. So I referred them elsewhere.

Professionalism often involves letting go rather than creating problems by pushing against our natural bents.

Why should people buy your product?

People buy things they love. Our stuff becomes part of us, like a permanent accessory. Objects help us define ourselves and identify with each other. Through them we find mutuality and acceptance.

How do people fall in love with stuff­? How does a product carve its niche in the hearts of consumers to become that “gotta have” item that, if you don’t have it, you just don’t quite measure up? It’s first an issue of seduction, and second of satisfaction.

The things we love help us feel good. When we feel good, we look good — we feel desirable, attractive and valued. Whether it’s designer coffee, that special pair of skinny jeans, or a robust Harley-Davidson, our things reinforce what we believe is good in ourselves; they bring out the best in us; we see them as positive reflections of who we are. We build our culture around the things we love, both personally and corporately.

The things we love are precious. We associate them with good friends, good times, favorite places and activities. They become irreplaceable items, necessary to our daily function, and meaningful because of how they help us connect, engage and get things done.

The things we love are sensual, providing pleasure and contentment through sound, sight, taste, smell, and touch. These are very individual choices. What pleases one person will not please another. We need to first connect personally with the aesthetics (that would be the design) of the thing. After that, further connections are made. The more connections we make, the more we fall in love with the item.

How can you invest your product or service with “lovability”? Here are a few suggestions:

• Love it yourself. If you’re not passionate about it, how can you engender passion in another?
• Know your market. Your market is people, not statistics. Spend time with your market before you offer your product.
• Be patient. Give people time to react and respond to your product.
• Design it well. Design adds value and meaning to your product. Visual communication should be consistent and noble. Don’t rely on your own sense of style; invest in design created by an expert. And finally:
• Follow-up. Find out how your product is really being used. Do folks like it and talk about it? If so, they’re creating a culture around it, making it a necessity for lifestyle maintenance.

To be promoted in our design-driven culture, a product must be packaged in such a way that it becomes meaningful to the person using it, so that they become an evangelist for it. This requires thoughtful planning and execution of a design strategy. Although you cannot ensure a desired customer response to your product  just because you have a plan, investing in good design increases the likelihood of lovability because it increases recognition, differentiates in a visually-cluttered world, communicates reliability, and creates affinity. In short, good design increases overall desire and appeal.

You cannot market anything these days without creating some sort of culture around it. You cannot can’t create culture without design.

The April 2, 2011 New York Times op-ed by Ross Perlin describes how schools are encouraging an exploitive trend in unpaid internships offered by businesses and corporations.

Although a somewhat recent type of “job” offering in other professions, unpaid internships are not new to the graphic design field. In fact, they’ve been a regular practice in this profession for years, especially at non-profit organizations. Students and graduates are now presented with internship opportunities more often than they are entry-level jobs. They’re asked to work for nothing or next to it in exchange for “gaining experience”. There are cases where interns work full time for no pay for a year or two in hope of being hired by that company. Businesses seeking low- or no-cost design will contact a school to recommend students or recent grads with no intention of paying them for their work. A casual perusal of design jobs on Craigslist reveals compensations offered in the form of lunch or gas money. One web site states that internships are necessary for finding design jobs: Internships are an essential part of attaining a job in graphic design. Get started on your career as a graphic designer with the internship of your dreams.

As designers, are we working to please the client? If that’s our purpose, I suggest that we’re missing the mark a bit. If in fact the client has a customer base, the design needs to engage that audience. The challenge is to create meaningful experiences for the end user, not the client. In other words, the design should be significant, applicable and heartfelt so that the target audience will develop connection and loyalty. The designer uses aesthetic elements including type, color and texture as triggers to create meaning, achieve a positive audience response and build customer loyalty.

It follows that design is not created for the client but for the customer. Think about that for a moment. When a client regards design only as something that makes their business look good and they want the designer to produce their ideas, they are engaging in short-sighted thinking. This can be detrimental to the goal of the design; alternative solutions won’t be considered and the final result may not achieve a meaningful connection with the client’s customers. The client needs to let go of assumptions about how their projects should be developed. What they ask the designer to do may not be the best thing given what they want their customers to experience. For example, the client may ask for the design of a brochure when an interactive video would create a stronger connection.

Given the job of creating meaningful experiences, designers function in a role far more complex than that of a mere production artist or “decorator”. They need the freedom to develop concept within the prescribed guidelines and the permission to suggest “what if”. Clients will be well-served to let go of personal preferences and allow the designer do what he is asked to do (create a successful design experience for the customer), and be open to consider the many possibilities the designer might conceive.

Ultimately, if the audience is reached and responds as desired, the client should be pleased. Design for the audience, and the client will also be satisfied.

I teach a course at UCLA Extension called Elements of Design. It deals with the stuff design is made of. Things like balance, gestalt theory, proportion, value, color, structure and composition all go into the mix of what design is all about. Students who complete the course come away with the understanding that design is not one thing or another but a conglomeration of elements. Remove one or several and it’s just not design.

We can say the same about designers. Let me begin with this analogy: It’s conceivable that a person can purchase a stethoscope and a white coat, have his name embroidered on it and call himself a doctor. But the proof of his being a doctor is not in his accessories or attire, but in his knowledge.

The person who takes a few software classes, prints up some business cards, sets up a website and calls himself a designer is not necessarily a real designer. He might look like a real designer but without certain abilities that are essential to the craft he’s created a veneer with no substance to support it.

Real designers, whether formally educated or not, are set apart by virtue of what they know and how they apply it. (How and where they learn these things is not my point here.) Beyond technical ability using Creative Suite software, there are critical thinking skills and background knowledge involved in creating successful design solutions.

This is my list of essential knowledge and abilities that are foundational to being a real designer. Lacking any of these ingredients compromises one’s ability to design well, if at all, in my experience. Please note that none of these have anything to do with Photoshop:

Design principles and elements, including gestalt theory;
Color theory, including web and print color, psychology, symbology and basic scientific properties of light and pigment;
Typography, including typefaces and font families, and the ability to select a face based on how it needs to communicate;
Knowledge of design history;
Knowledge of popular culture, current trends and future projections;
Drawing skills, because drawing is a basic form of visual communication;
Verbal and written communication skills to be able to present a solid rationale for design decisions, keep clients informed and educate when necessary.

Then on top of these foundational ingredients we can add technical skill and the ability to engage in the design process to reach a successful outcome. Why? Because a real designer can design with a pencil or a computer. The tool is secondary; the thinking ability is primary.

A few places where you can get learn design without applying to a degree program:
Art Center at Night
Otis Continuing Education
UCLA Extension
School of Visual Arts Continuing Education
Rhode Island School of Design Continuing Education
Pratt Institute Continuing & Professional Studies
Parsons The New School for Design Continuing Education
Rocky Mountain College of Art & Design Continuing Education

Graphic design represents ideas and values. A design is not in itself the idea, but the expression of it. Design points to something greater than itself. In most cases design serves as an ambassador, not as the self-expression of the designer, but as the expression of a business or organization to its audience. The value of a design is in how and what it communicates.

If your business or organization is a worthy enterprise, shouldn’t it be represented by something that is equally worthy?

If you were to choose an ambassador to represent your interests to the world, wouldn’t it behoove you to choose someone who will represent you accurately and deliver your message clearly; someone who cares how you’re presented and how people respond to you? You’re not going to simply drive by and pick someone off the street corner to do that. You’re going to carefully select from qualified candidates.

If your design assets represent your interests, why wouldn’t you want them to be as carefully chosen?

If a business is worth establishing and customers are worth pursuing, why not make the appropriate investment? You should be concerned that your graphic assets are serving your interests and representing your enterprise in the best way possible. A worthy enterprise deserves the investment in and the cost of a worthy ambassador.

Businesses have a choice when seeking creative services: They can go the cheap route and buy a logo through a crowdsource/contest site where they’ll select the lowest bidder, or they can commission a designer for a custom, targeted design. This creates a dilemma for legitimate freelancers. Competition for freelance design work is not only increasing, it’s being degraded as design thinking becomes under-valued and relegated to the level of banal doodles seeking a home. If businesses get used to paying pennies for a bad design offered by the lowest bidder or for an off-the-rack piece of badly drawn clip art, the profession itself will be compromised.

Many freelancers are turning to these crowdsourcing sites, thinking that getting something – anything – is better than nothing. And if they can win bids enough times they may be able to eek out a living. However, that approach leaves everything to chance and speculation – not a great way to make a living. It’s a gamble.

Leaving your income up to chance is neither wise nor proactive. Giving others control over your livelihood while spending time creating work that may or may not be purchased is neither useful to you nor helpful for achieving your long term goals.

The best way to get new work is through relationship. As people begin to know you they trust you. Trust is one of the best compensations anyone can earn. Relationships and trust however, take time to build.

You build relationship by becoming involved with people. Joining chambers of commerce or service clubs like Rotary, Kiwanis and the Lions, or serving as a volunteer with cause-based organizations will help spread your reputation and create opportunities for conversation and trust.

Target people and businesses you want to work with. There’s the temptation to take just any project that comes along, but it’s better to be judicious in selecting work and clients that are a good fit. Not every project is the right one. Not every client is worth working with. So be selective. Being selective requires, of course, a foreknowledge of the kind of client you want to work with. Foreknowledge requires planning and evaluation.

Use your LinkedIn and Facebook connections. Don’t just link up with other designers but also with business owners, marketing pros and corporate executive who might be strategic for your professional growth—people who will refer you or would give you a project directly.

Ask for referrals from current and past clients. Don’t have a client yet? Ask for referrals from friends and family. Don’t be afraid to let people know you’re looking for work. Always follow up on the referral and be sure to thank the referrer, even if their referral doesn’t pan out. Expressing gratitude is golden.

Whatever you do, do it with the long-term in mind. It’s tempting to focus on short-term revenue or getting the next project. Yet whatever you do, first determine where you want to go as a design practitioner. Where do you want to end up at the end of your time in the profession? What contributions do you want to make? Then break ground and build that foundation now. Be willing to give up some short-term fixes for the sake of your long-term goals. What strategic relationships do you want to establish now that will benefit you down the road?

If you have a well-designed strategy for building the right relationships, you will have a better chance for sustained success than if you focus on just getting the next project.

Why is spec work so prevalent in the design profession when it’s not in other professions? Increasingly companies – “creative” businesses included – are offering “unpaid internships” instead of hiring designers outright. In trying to reduce costs, they will offer an “internship” and even go through a selection process similar to that involved in standard hiring practices.

Unpaid internships are harmful to the industry and are legitimate only as part of a work-study program for students, involving evaluation, grading and course credit.

Unpaid internships are a viable part of a student’s education, where he or she works at a firm for a specific period of time in an unpaid capacity to gain real-world experience and earn work-study credit toward their degree or certificate. Student internships are great opportunities to gain practical knowledge, and can lead to employment with the firm or to referrals and recommendations. A great benefit for the student is the relationship that they build with the firm and the connections forged to the industry.

However, it’s my opinion that any unpaid work as a professional is inappropriate unless it’s a pro bono project undertaken because the designer chooses to offer his or her services in that manner.

It’s peculiar that the design profession is full of unpaid positions, spec work and expectations that we’ll work for peanuts or for simply the love of making art. These expectations are propagated by people in the profession who will accept a job in return for experience alone who even accept abuse from a client simply to “get something in their portfolio” or for the hope of proving themselves and obtaining something secure down the road. These practices hurt the profession, degrade the value of design and debase all design practitioners. Such practices propagate a general lack of respect that is ordinarily accorded professionals in other industries.

I don’t advocate spec work, the use of online bid sites or unpaid gigs in any form. Design is valuable and is worth the investment. Unpaid internships are purely speculative and offer no security and no value. They are entirely inequitable. And as for being unpaid while “in training” for a position, let’s compare this to practices at banks, law firms, grocery stores, the military and all other entities where one is paid equitably during on-the-job training.

The AIGA just came out with a clarified position on spec work. Spec work is any form is unethical and should be discouraged. It is of no value to the designer and is entirely unfair. Designers should not engage in it but instead should negotiate fees, deliverables and intellectual property rights that are reasonable and competitive.