How to get graphic design and copywriting clients: Drop the mouse and step away from the computer

April 23, 6:59 AMSF Graphic Design and Branding ExaminerStephanie Orma

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Image designed and copyrighted by Stephanie Orma / Orma Design & She's SO Creative

For the creative industry, in which 99.9% of the time is spent interacting with a computer, it seems ironic that the success of the business itself is so vitally dependent upon the real and meaningful interactions with people and NOT computers. What does this mean exactly? It means we (graphic designers, copywriters, creatives, etc.) have to actually venture out beyond the glow of the computer monitor to obtain clients. But don’t take it from me.

I picked the brains of three stellar creative firms who know a thing or two about getting clients and building successful businesses: Jennifer Bostic, owner and creative director of Paper Plane Studio; Lanny Udell, owner and chief writer of Copywhiz; and Eric Heiman and Adam Brodsley partners and co-founders of Volume Inc. Moderated by San Francisco graphic designer and copywriter Stephanie Orma of Orma Design and She’s SO Creative, the three studios share their personal experiences, insights, and advice on the best means of landing graphic design and copywriting clients.

In general, what have you found to be the absolute best means of obtaining clients?
Paper Plane Studio: Personally, I feel word of mouth is the best way to gain new clients. Through networking and keeping in contact with people I used to work with at other design firms, I get a lot of projects referred to me. I am very thankful because of this. And gaining a client through word of mouth is the best way to attract those that will be a good fit. I have also gotten a few clients after they have seen my work in design publications, or seen me speak at a conference. I tend to work with many of my clients on a long-term basis. I have also gotten clients randomly by meeting them in a cafe, or at a party. It's all about engaging people in conversation about what you love about your work.

Copywhiz: Staying in touch with existing clients, suggesting ways for them to maximize their marketing dollars. Networking is important - most of my work comes through referrals.

Volume Inc.: Up to this point, it's primarily been word of mouth through doing great work and having as many people as possible see it. Awards, exhibits, and getting published certainly add credibility, and on occasion will also lead to new work. It's the classic adage: "Good work begets more work." It's also about being out and about, talking to people—whether at cultural events, through teaching (at the California College of the Arts), lectures we do, or even random social gatherings. Our love for design and doing great work is even more palpable when we're conversing with people about it. This puts a face to the Volume name that is more memorable than a website homepage. Even our business cards are designed to trigger further conversation when we hand them out.

Do you send out direct mailers? If so, do you purchase mailing lists, do cold calls, and/or target specific industries, etc.?
Paper Plane Studio: I do have a few Paper Plane Studio promotions that I send out occasionally to clients I am interested in working with. It is basically a mini-portfolio of my work that I can customize based on who I am sending it to. I actually consider it a gift, not really a promotion. I rarely do cold calls, as I feel this does not really get you anywhere. It is best to personally know, or get to know someone (through networking) who works for that specific client before contacting them. I am always on the lookout for a new potential client—either one that is doing great work in another media, or one that really needs design assistance.

Copywhiz: No, I don't send out direct mailers. I've occasionally targeted an industry and sent an email or a letter. Results have been mixed. Probably should do more follow up.

Volume Inc.: When we first started in 2001, we did mail a nicely designed mini-portfolio package to every potential client of which we had some sort of connection. We also used it as a leave behind for any prospect meetings we managed to land. I can remember only one or two instances where the piece directly helped us get work, and since then we haven't mailed much, aside from the annual holiday card and/or gift. We've never purchased a list and instead have simply done a little focused research through peers and sources like LinkedIn. This may change in the future as we're starting to get and go after larger-scale jobs. We've also started to work with a consultant who is building our business development infrastructure and making the initial contact with prospective clients. The process still starts and ends with us, but having help with all the nuts and bolts—and having an informed outsider's view of us and our potential—is amazingly beneficial.

Do you belong to any networking groups? If so, which ones, and do you find it to be fruitful for client referrals?
Paper Plane Studio: I regularly attend AIGA events and conferences, and feel networking with other designers is a good way to feel out the industry. Sometimes other designers will refer a project or a portion of a project to me. I enjoy working with other designers, or collaborating with them on larger projects. I also donate money to the SFMoMa, the MoMa, and other smaller galleries in New York and San Francisco, attend show openings and lectures.

Copywhiz: Yes. I've done BNI and am currently attending monthly meetings of the Bay Area Consultants Network. I'm looking at some other professional organizations such as The Catalog and eCommerce Club, Northern California. The connections I made in BNI were very valuable. I did a few projects for members of the chapter but for the most part they were small projects. I wasn't getting the kind of referrals I wanted so I left after a year. HOWEVER, I made a connection with a graphic designer in the group, which has resulted in an ongoing partnership with him. He has given me some good referrals and I have brought him in on some projects. In addition, a couple of other members of that group have since referred clients to me. I learned a lot from my year in BNI. I met a lot of people and that's very valuable. Like anything in life, the more you put into it the more you get out of it. Instead of merely showing up, it pays to get to know people on a one on one basis so they understand what you do and vice versa. Also, if you get involved...work on a committee or take on a leadership role...you'll reap more benefits.

Volume Inc.: Not really. We're fairly active in the local AIGA chapter, but that tends to be a mostly design crowd.

Do you blog and has that helped bring in business?
Paper Plane Studio: I currently do not blog. But I have thought about the idea of starting one. I feel like it would need to satisfy a specific niche that is not currently covered, otherwise it could be self-satisfying and redundant.

Copywhiz: I do blog, but so far it hasn't brought in any business. I'm also posting on other blogs to get my name out there.

Volume Inc.: Eric has just been asked to be one of the contributing writers for SFMOMA's new "Open Space" blog (blog.sfmoma.org), and his posts will be starting in the next week or so. Also recently, we've been sending out an e-blast about every other month. It tends not to be news about Volume so much as our philosophical musings over interesting stuff we've seen, read, or heard that speaks in varying directness to design's place and power in the world. It's too soon to tell if either of these things will bring in a lot of business, but the responses we've received about the e-blast have been very positive so far. We're also beta testing Twitter and our reputations as cultural avatars. (The jury's still out on that.) Our general philosophy is to contribute worthy content to the general discussion. It's far too easy for the giant dialogue stream in these mediums to quickly become banal, and we don't want to add to the excess static already out there.

How do your promotional efforts differ now from when you first started your firm?
Paper Plane Studio: When I was just starting out in design, I worked for Landor, Pentagram Design, and Stone Yamashita. So when I went out on my own in 2000, I basically started out doing freelance work for other design firms as well as word of mouth referrals from people I used to work with. My first year of business, I sent out a few promotions to prospective clients as well. This really does not differ from how I work now, although I am a bit more selective on the type of work I chose to focus on now.

Copywhiz: I networked my brains out! :-) When I moved here from NY, where I had always had a job, I decided I didn't want a full time job any more. I actually came out here several times to scope it out, meet people, etc. Then, when I finally moved, I continued networking and also did some cold calling. I recall going to a luncheon given by the Ad Club in SF. The panel discussion topic was: Freelance vs. Full Time - Which Way is the Business Going? One of the panelists, Gil Zeimer, was a former ad agency writer turned freelancer. After the meeting I contacted him, we met, and he became one of my prime referral sources. So it's really about getting out, making connections, and of course, having the substance to back it up!

Volume Inc.: Success hasn't really made the process any easier or different. We still have to go out there and convince people that we're the best team for the job.

Advice for newbie and seasoned professionals struggling to obtain clients?
Paper Plane Studio: Express passion for what you do in conversation. Be enthusiastic and inspiring to your clients or potential clients. Don't burn bridges. Seek out the kind of work you want to do, and try to meet people in that industry. Be competitive in your pricing. Do great design work and they will come back for more. Try a project in a media area you have never worked in. Be relentless in going after what you want. Be flexible—move to where the creative work is currently being done. Keep your mind activated and creative by doing things other than design—this will keep you optimistic about the kind of work you do.

Copywhiz: Mine your contact lists as most new work comes from people you know who are in a position to recommend you. Stay in touch with clients, ask how you can help them solve their marketing problems. Blog, network, if you're comfortable with cold calling go for it. If your business is slow, this is a good time to update your website, write blog posts and try something you haven't done before. An email newsletter, perhaps. One more tip for copywriters: A good newsletter to subscribe to is Steve Slaunwhite's ForCopywritersOnly.com. He offers useful tips and often gives scripts/templates for approaching new clients. While he does sell coaching and seminars, it's a very soft sell.

Volume Inc.: Again, it all goes back to the work. If the work is good, the less you'll have to sell it, because those clients will recommend you to other potential clients. Be focused in your search, no matter how general your work's scope may be. Every designer and design company has specific strengths and can't be everything to everyone. Lastly, take the time to cultivate friendly client relationships, and do your best to maintain the really good ones. The client you'd want have over for dinner or share a drink with is probably one for whom you'll do the best work.

To learn more about these exceptional creative firms visit:
Jennifer Bostic | Paper Plane Studio
Lanny Udell | Copywhiz
Eric Heiman & Adam Brodsley | Volume Inc.