An article titled Substance over Style by our Design Director Mark Busse was recently featured in the latest issue of Business In Vancouver’s Adpages Magazine about how businesses can more effectively attract, evaluate and select a design partner. The article (reproduced below) argues that procurement strategies such as RFPs can produce unrewarding outcomes and offers some tips and guidance for businesses seeking a relationship with creative firm.

Substance over style: How to find the best design partner for your business
by Mark Busse

With graphic communications increasingly recognized as critical to success, it’s important to find the right design firm for your company.

Yet many in business struggle to attract, evaluate and select design partners. One might hire friends or family, while another might create a contest with a prize for the selected submission. Many others rely on archaic requests for proposals (RFPs) for transparency and objectivity in arriving at competitive pricing. The resulting relationships can be as unrewarding as the outcomes.

Is there a better way?

Seek help in your search

Recommendations from within your own industry or from design experts will almost always be more effective than online searches or RFPs. Consult with design associations on identifying qualified candidates from their certified ranks. Are the candidates thought leaders in design, respected by industry, peers and clients? Or consider delegating the search to a marketing consultant with experience procuring and managing design.

Look beyond portfolios

In addition to evaluating a design team’s portfolio, investigate the company’s skills in business and project management. Don’t judge only on æsthetics or descriptions of process. Challenge candidates to express what was behind their design choices and how their particular approaches solved clients’ problems. Visit their studios and speak to them in person to judge fit. You needn’t become friends, but you should share similar perspectives, goals or ethics and enjoy collaborating together.

Ask for case studies and testimonials

Request comprehensive case studies that outline goals, context, and approach to reveal whether processes are results-driven. Ask for testimonials or contact information for specific clients. If candidates don’t willingly offer these, move on.

Who will do the work?

Investigate each firm’s current employees and in-house capabilities. How many long-term, full-time designers do they employ? How much design or development do they farm out, and are they transparent about this? Inquire how direct a role the senior members will play in your project.

What’s included?

What is and isn’t covered in candidates’ fees? Do they provide working files? Do they use proprietary or open-source solutions? What’s their stance on ownership and copyright, and how do they handle cost overruns?

Will candidates be there for you in future?

The real value of a relationship with a designer is in his or her repeatable process and creative thinking applied to your problem, not merely to your final product. Since the worth of this relationship often emerges over time, inquire about candidates’ plans for growth. Look for indications that firms have been and will be around long-term.

Are candidates asking questions?

Do candidates spend most of their time selling you on themselves, or do they seem genuinely interested in your problem and goals? The best practitioners will be hungry for the details underlying your situation and may push you to reconsider causal factors and solutions. Speak openly about your business needs and expectations.

Seek a consultant, not a proposal

Avoid the temptation to require designers to provide firm cost proposals up front on the basis of your description of deliverables. Instead, share your problem, goals, budget and timeline and engage a qualified designer to work with you to prescribe strategic solutions tailored to your unique situation. After this initial discovery, create a project plan that outlines the specifics of the solution. Write a contract after arriving at an agreement. As to hourly rates, you get what you pay for: prices will reflect experience and efficiency.

Like hiring a senior employee or taking on a partner, choosing the right design firm can be a critical moment in the growth of your business. The best candidates won’t give away strategy to prospects – certainly not before doing the research and diagnostics they’ll need for understanding the situation fully – so don’t ask for it before hiring a team. If the initial discovery phase doesn’t impress you or you dislike working together, discontinue the relationship and move on.

About 20 per cent of our business at Industrial Brand comes from clients who hired design providers ineffectively and have had to redo their identity systems or websites, didn’t understand what they were paying for or found themselves with limited options after their designers vanished. Don’t fixate on deliverables and costs before choosing your partner. What you’re really paying for is a well-considered process. Use the opportunity to start a long-term relationship with a partner you trust.

Mark Busse is design director of Industrial Brand, a Vancouver-based brand, communication and interactive design firm he co-founded in 1997. He’s a certified professional member and B.C. past president of the Society of Graphic Designers of Canada as well as member of the Association of Professional Design Firms.

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This article is from Business in Vancouver Adpages 2011, which you candownload as a PDF here. Adpages contains numerous other practical tips and informative articles for the business community and we encourage you to support BIV and buy a printed copy today!

Business in Vancouver has been publishing in-depth local business news, analysis and commentary since 1989. The newspaper also produces a weekly ranked list of the biggest companies and players in a wide range of B.C. industries and commercial sectors, monthly features and industry-focused sections that arm its subscribers with a complete package of local business intelligence each week.

From Adpages, published by BIV Magazines. Copyright © 2011, BIV Magazines, a division of BIV Media LP. Reproduced with permission.

Industrial Brand was recently featured in an article called Leverage Design as a Business Asset in Business in Vancouver’s 2011 edition of How-To, their annual publication of practical tips for business. The article (reproduced below) by GDC/BC‘s Copywriting Chair, Eagranie Yuh, argues that businesses who invest in hiring experienced designers have an advantage and reap rewards in the long term.

Leverage Design as a Business Asset
by Eagrane Yuh

Think about your business assets: human resources, information technology, investments, property and design.

That’s right: design. In a recent poll of 526 businesses conducted by Harris/Decima, 63 per cent of respondents reported a link between design and better business performance.

A recent study from the United Kingdom shows that three-quarters of businesses that have made design an integral part of their operations have improved their competitive advantage.

How does visual strategy translate into business success?

Differentiating your product

Level Ground Trading in Victoria was one of the first companies to market fair-trade coffee, but since its beginnings in 1997, many similar companies had entered the market. Consumers liked Level Ground’s coffee and key message but not the packaging and design of the product.

Level Ground worked with Subplot Design Inc., which overhauled the company’s brand strategy, logo and packaging. From a decline of 1.3 per cent in sales from the prior year, Level Ground saw an increase in sales of 12 per cent across its main categories.

“It finally gave them a way to tell the story that they hadn’t had in the past,” says Roy White, CGD, creative director and partner at Subplot Design.

Reaching your target market

In 2009, Amacon, a real-estate and development and construction firm, launched District, a condominium complex in Vancouver’s Mount Pleasant neighbourhood. “We really had to build brand awareness, because there were limited developments like District in the area. We needed to sell the area,” says Nic Jensen, Amacon’s sales and marketing manager.

Amacon hired Industrial Brand, a Vancouver design firm, to target a specific demographic with a cohesive campaign that included a website, a display centre, brochures and several 40-foot billboards.

Amacon opened the display suites on September 15, 2009, intending to sell 75 per cent of the units by the end of the year. By the close of opening weekend, the first building was sold out. Three months later, the second building was sold out, and Amacon closed the sales centre, a full nine months ahead of schedule.

“The pre-sale market wasn’t very strong at that time, especially in a new area. The campaign was exactly what we needed,” says Jensen.

Gaining a competitive edge

Read Jones Christoffersen (RJC) is Canada’s oldest engineering firm. Its outdated website didn’t reflect the stature of a company that had been in business for six decades and completed more than 30,000 projects. “We needed to bring the personality of the firm to the forefront,” says Patricia Glass, RJC’s marketing specialist.

Industrial Brand revamped the website. Search-engine optimized, the new site has a robust search function that has brought in new clients. What’s more, a new recruitment interface has significantly streamlined RJC’s recruitment process.

Becoming more efficient

Mountain Equipment Co-op (MEC) is Canada’s leading retailer of quality outdoor gear and clothing. With 14 stores across the country, the company has a strong brand and consistency across its visual communications.

This is primarily due to MEC’s brandstandards guide. The 38-page guide provides explicit instructions for the company’s visual communications: logo, font, colours, in-store signage, store exteriors, website and more.

For Judy Snaydon, CGD, MEC’s creative director, the guide ensures consistency and enables efficiency. “We work with a lot of external vendors. If we didn’t have brand standards, I’d be constantly having to outline who we are, what we’re about and what our brand looks like. With brand standards, I can stop worrying about these things and focus on the objectives of each project.”

Using design as a business asset

These companies have leveraged design as a business asset and invested in strong visual strategies. In working with certified designers, they work with providers who incorporate strategy, problem-solving and business acumen into the process. The Society of Graphic Designers of Canada (GDC) is the professional association for certified graphic designers (CGD). To be certified, a graphic designer must pass a rigorous portfolio review and abide by a code of ethics.

The society’s website provides resources for businesses to find certified designers and to determine whether they they themselves are working with reputable designers. For more information, visit www.gdc.net.

Eagranie Yuh is copywriting chair for the B.C. Mainland chapter of GDC. She is a freelance business writer and award-winning blogger. She also teaches chocolate-tasting classes.

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This article from Business in Vancouver How-To 2011, which you can download as a PDF here, which contains numerous other practical tips and informative articles for the business community. We encourage you to support BIV and buy a printed copy today!

Business in Vancouver has been publishing in-depth local business news, analysis and commentary since 1989. The newspaper also produces a weekly ranked list of the biggest companies and players in a wide range of B.C. industries and commercial sectors, monthly features and industry-focused sections that arm its subscribers with a complete package of local business intelligence each week.

From How-To, published by BIV Magazines. Copyright © 2011, BIV Magazines, a division of BIV Media LP. Reproduced with permission.

The journals have countless pages of inspirations and ideas in them. My favorite part of this whole project is that the pages are created by ordinary people, not artist or designers. Allowing new ideas and unique and unusual concepts to emerge. It is simply brilliant.

There are still 1,000 journals circulating around the world… who knows, you could find one.

Check out 1000journals.com or buy the book with Amazon

Last year our brand identity project for Yaaway was featured in BIV’s special AdPages issue in an article called Logos Stick written by Jill Lambert. This year we are proud to have some of our work and opinions featured by BIV again, this time in an article in the AdPages 2010 20th anniversary edition called What Meets the Eye.

Written by Noa Blouberman, the article is a look at some of the key aspects behind effective visual design solutions with some tips for business, and features a recent ad campaign we created for Bikram’s Metrotown Yoga as well as the identity and campaign we developed for Amacon’s District real estate development project on South Main.

Click here for a PDF of the article in question without downloading the entire e-book or 10MB PDF.

There’s a new book that’s been published by maomao publications called Blogs, Mad about Design, featuring profiles and screenshots from more than 250 blogs about design-related topics—including this blog. Sort of a compendium of sorts. But is it really?

The irony about producing anything about the web in print is that as soon as you’ve published it, it’s out of date. Case in point? We re-branded the company and re-launched the blog before the book ever made it to print. Hence, the Industrial Brand double page spread showcases our old design, back when it was called We’re Not Wired Right. And there are numerous other blogs and websites that have since changed or even been shut down since this material for this book was assembled.

And so it goes with books about Web—as soon as something has hit, it’s almost too late to publish anything that will have any lasting use more that a short period of time.

I guess all new story ideas have been used up in literary circles, and writers have to turn to rewrite the classics. And that’s right, Seth Grahame-Smith went there. Read about it here, and order it on amazon.

Not that I feel guilty when I eat rabbit anyway, but clearly bunnies are suicidal and should be put out of their misery, as is evidenced in these funny cartoons from Andy Riley’s Book of Bunny Suicides.

We’ve used FunctionFox‘s TimeFox web-based time and project management tools for years and love it. Their new TimeFox Premier release has added handy functionality such as task management, to-do lists, calendar and scheduling tools, timeline overview, project blogs, email alerts and iCal integration—things we’d been hoping and asking for for sometime.

But that’s not what this post is about.

FunctionFox also regularly publishes a great newsletter and resource centre on their site containing terrific articles about issues creative professionals and firms face on a daily basis. For example, they recently posted an article entitled Balancing Your Business by Heather West that examines issues such as how many clients should you serve? In what categories? Or where?

As a small, but growing agency ourselves, we find we need to regularly re-evaluate our client mix and clarify our understanding of who our ideal clients are. It can be tough, but deciding when its time say no to some clients and good bye to others is a crucial step in growing your business and focussing on what you’re good at, what makes you happy and what makes you profit. This informative article shares some wisdom on this important topic that we should all take to heart—I know I do.

This afternoon, I read David Pogue’s review of a new phone offering, the Shadow, designed and sold by T-Mobile in the US.

The review starts normally enough, praising the phone’s physical shape and layout, hard controls and aesthetics. It then describes the enormous list of features the Shadow has: WiFi, voice dialing, Bluetooth, stereo audio output…

But then Pogue gets into the phone’s software, built on Windows Mobile 6 which he succinctly describes as “a mess.” He describes the dozens of taps required to make the phone go, the wait times between screens (wait times on a phone!?…), bad navigation, hidden menu choices of important items, counter-intuitive functionality…in short, says that “it’s a shame that such bloated, baffling software runs a phone whose hardware is so close to perfect.”

The review is clever and cuts to the heart of the matter.

So why does this matter to me?

Because I’ve been reading Getting Real, by 37signals. And one of the things they hammer home is that it’s better to deliver half a product than a half-assed product. They argue that leaving features out in favour of delivering something simple, smart and coherent is critical. Don’t try to be all things to all people. Get a few things right.

I think that the Shadow phone Pogue describes is the sort of fully-featured, half-assed product 37signals had in mind. It’s loaded with everything a user could want and a lot more, but its navigation is so dreadful that it’s likely to be impossible for them to find what they are after, let alone use it. Whether this is the fault of the software built on Microsoft’s platform or of the platform itself…well, I’ll let you decide once you’ve read the review and handled the phone.

Now, consider Apple or Palm products for a minute…

Palm (and later, Handspring, then Palm again), for all its faults, for an operating system and products that some have described as “stale” in recent years, got it more or less right the first time around: deliver something that works as a phone, syncs perfectly every single time, and delivers single button access to the four major functions. To do this, they dumped a lot of functionality and kept things simple: no multi-threaded operating system, heck, there isn’t even a “Quit” button in most Palm applications. Palm explicitly told its developers that they shouldn’t use one, that they didn’t need one. They told developers to keep important, frequently used things on top, one click away, put less important things in menus or secondary screens.

And Apple’s products: plug in an iPod and it syncs. There’s no button to push, it just happens. Plug in a camera, iPhoto starts. Simple…not simplistic…just simple and smart.

The complaints about the iPhone have been loud and long – that it lacks features that are “obvious” like GPS, no flash on the camera, no picture messages, no file organiser, no Flash support. I can’t help but wonder if Apple chose to leave all these out to make sure they delivered a phone with half the features, fully realised, instead of a fully featured, half-assed phone.

You can stack complexity on Apple’s products; witness the number of developers running MySQL, Ruby on Rails, Subversion or a hat box full of excellent development environments that find a happy home on OS X. But that’s not where you start with Apple; you start with Safari and Mail, iPhoto and iTunes, simple, smart applications.

You’ve seen lots of terrible software and bad interfaces, as have I. I confess to having a very personal beef with an LCD display in the light and fan control in an overhead stove vent (“…Light…is…off…”). So there is no shortage of examples for the issues raised in Getting Real. But the clash between the sleek simplicity of this phone’s hardware and the transcendental awfulness of the its software really got my attention.

Perhaps simplicity is what separates passing fetishes from disruptive technology; witness Facebook, My Space, iPod, GMail, Flickr and others. I also think that this might be what’s driving the market away from Microsoft Vista. Start with the fact that you have to choose which version of Vista to use. We don’t want to think about versions, antivirus, antispyware, firewalls. We don’t want to play the whack-a-mole game with the interface. We don’t want to think about the interface. Rightly or wrongly, we want appliances — plug it in, insert bread, push the lever, wait, and toast pops out.

Thanks to Mark and Amanda for putting Getting Real on my radar.

It’s common knowledge (among those who know me) that I love Cuba. My wife and I were married there. I may not entirely agree with their politics, but the Cuban people are amazing—perhaps the warmest and most enjoyable culture I’ve encountered in my travels. To visit Havana is an adventure in history, politics, architecture, music, food, drinks and language. If you haven’t been, go.

In the past few years, my role with GDC has happily collided with my love of Cuba, first with the sold out Colours of Cuba holiday fiesta party we hosted in 2005, then the Shared Dreams Cuban design exhibit we were able to bring to Vancouver in 2006. Now, I am again fortunate to be able to travel back to Cuba as part of a small delegation of GDC designers to the Icograda World Design Congress being hosted in Havana October 20–26, 2007. We’re also bringing with us two deserving young GDC student members selected from an impressive field of entries to expose these young designers not only to the diverse Cuban design scene, but to the international design landscape early in their career.

A GDC colleague of mine, Robert Peters of Winnipeg’s Circle Design, is also a fan of Cuba and has made numerous trips there, studying their culture and design community. He recently published a wonderful and well-researched article in Communication Arts called Cuba Si! about life, history and politics on the embargoed archipelago and their impact on the design community. Peters himself is an inspirational Canadian design leader—there’s a great interview with Robert Peters on NetDiver if you’d like to learn more about his personal history and perspectives.