Anyone here in the creative services industry?
Discussion
Good day!
More of a curiosity than anything else. I know we have a lot of powerfully built director types known to dominate boardrooms (
) but does anyone do anything in the creative services? Graphic design, writing, signmaking, set production, make-up artist.. it's a wide spectrum!
I ask as someone who has been loosely freelancing as a visual artist for about a year now. Good and bad, ups and downs.
My main issue forever seems to be converting enquiries into paying customers - even though I consider myself to be very flexible on rates or overall job pricing, and willing to do pretty much anything I can comfortably attempt. Is it just me or is this normal?
The good news is many (40% or so) clients tend to return if they need future work, which is good. But I'd say my current conversion from enquiry to completion is about 15-20%.
Is it because creative services are.. perhaps sadly.. seen as a frivolity, rather than a necessity? That's kinda how I feel..
Interested to hear from others on this
More of a curiosity than anything else. I know we have a lot of powerfully built director types known to dominate boardrooms (
) but does anyone do anything in the creative services? Graphic design, writing, signmaking, set production, make-up artist.. it's a wide spectrum!I ask as someone who has been loosely freelancing as a visual artist for about a year now. Good and bad, ups and downs.
My main issue forever seems to be converting enquiries into paying customers - even though I consider myself to be very flexible on rates or overall job pricing, and willing to do pretty much anything I can comfortably attempt. Is it just me or is this normal?
The good news is many (40% or so) clients tend to return if they need future work, which is good. But I'd say my current conversion from enquiry to completion is about 15-20%.
Is it because creative services are.. perhaps sadly.. seen as a frivolity, rather than a necessity? That's kinda how I feel..
Interested to hear from others on this
I run a specialist comms agency. Worked in the sector since '83 staring out as a Graphic Designer.
There's a bit of a paradox at the moment in that demand for good, creative content has never been higher. At the same time there's now no end of online services that you can subscribe to and use pre-made templates to create that content so every Tom Dick and Harry believe they are now a designer. This devalues what is a critical professional service making it more difficult to win work and / or work to a value that makes it worthwhile. But it is possible.
One of the hindrances to being a Freelance is that it's just you. You say that you can turn your hand to anything and most creatives can but it's good to be recognised as expert in one thing.
What I've done that is working well is to collaborate. My agency looks, feels and behaves like a large, full-service outfit offering the full range of services. In fact, the only employees are myself and my wife. I have a team of 10 or so people and businesses who white label their services to me. They are all independent and bill me for the work I get them to do. I don't hide this fact from my clients and those that have commented on the arrangement seem to like the idea (and appreciate the lower day rates that keeps us ahead of the bigger boys on pricing). We're punching well above our weight on the projects we're winning.
One of the other advantages of this approach is that you can earn a margin on the services you buy in. If you're only selling yourself, you're limited to what hours you can apply to a job. Margin based revenue means you can earn from organising printing, photography, media buying and the like.
The one downside in my approach is that it's difficult to create a business from which you can easily exit. But that's a problem for future StevieBee!
The other thing to look at is sector specialisation. Work to become known as the go-to-guy for creative in a particular market sector. Can take a while to attain that but, speaking from experience, is well worth the effort.
In terms of winning business day to day - a lot is dependant upon the type of companies you're pitching to. Over the years, I've found the smaller, kitchen-table-top, high street type operations tend not to be that serious about good design and just opt for the cheapest. All you're doing is providing them a cost baseline. Larger organisations are generally more serious. They may be more difficult to convert but when you do, the value of the order will be higher with the chance of forming a more lasting, profitable relationship.
When I went freelance back in the late 80s, one of my tricks was to wonder round companies and pick up one of their leaflets or brochures. The really bad ones, I'd redesign and then take the new design in to show them what they could have. I landed a Tour Operator as a client doing that. Ended up designing three travel brochures a year for them and kept them as a client for a good 10 years after that.
Hopefully there's some nuggets there you can use. If I were to pick out one to focus on, I'd say to think and act bigger than just a Freelancer.
HTH
There's a bit of a paradox at the moment in that demand for good, creative content has never been higher. At the same time there's now no end of online services that you can subscribe to and use pre-made templates to create that content so every Tom Dick and Harry believe they are now a designer. This devalues what is a critical professional service making it more difficult to win work and / or work to a value that makes it worthwhile. But it is possible.
One of the hindrances to being a Freelance is that it's just you. You say that you can turn your hand to anything and most creatives can but it's good to be recognised as expert in one thing.
What I've done that is working well is to collaborate. My agency looks, feels and behaves like a large, full-service outfit offering the full range of services. In fact, the only employees are myself and my wife. I have a team of 10 or so people and businesses who white label their services to me. They are all independent and bill me for the work I get them to do. I don't hide this fact from my clients and those that have commented on the arrangement seem to like the idea (and appreciate the lower day rates that keeps us ahead of the bigger boys on pricing). We're punching well above our weight on the projects we're winning.
One of the other advantages of this approach is that you can earn a margin on the services you buy in. If you're only selling yourself, you're limited to what hours you can apply to a job. Margin based revenue means you can earn from organising printing, photography, media buying and the like.
The one downside in my approach is that it's difficult to create a business from which you can easily exit. But that's a problem for future StevieBee!
The other thing to look at is sector specialisation. Work to become known as the go-to-guy for creative in a particular market sector. Can take a while to attain that but, speaking from experience, is well worth the effort.
In terms of winning business day to day - a lot is dependant upon the type of companies you're pitching to. Over the years, I've found the smaller, kitchen-table-top, high street type operations tend not to be that serious about good design and just opt for the cheapest. All you're doing is providing them a cost baseline. Larger organisations are generally more serious. They may be more difficult to convert but when you do, the value of the order will be higher with the chance of forming a more lasting, profitable relationship.
When I went freelance back in the late 80s, one of my tricks was to wonder round companies and pick up one of their leaflets or brochures. The really bad ones, I'd redesign and then take the new design in to show them what they could have. I landed a Tour Operator as a client doing that. Ended up designing three travel brochures a year for them and kept them as a client for a good 10 years after that.
Hopefully there's some nuggets there you can use. If I were to pick out one to focus on, I'd say to think and act bigger than just a Freelancer.
HTH
I freelanced for 7 years and whilst I made ok money it was no end of hassle trying to win business and then get paid.
I am now in quite a senior position within a brand and most of the people I hire who are external I go through a production agency or recruiter. The only person we use who is direct is a motion graphics guy who's a mate of someone in the team.
We are returning customers to the agency - they get a couple jobs a month from me and the motion graphics guy get's on average 2 jobs a quarter.
I think you need to know who within a business is doing the buying and sourcing of freelancers and target them. For example if you went to my boss to try and sell yourself she wouldn't have a clue what you were talking about or see the value, however if you came to me I might bookmark your name and if something came up I could use you if my normal agency were busy or had let me down.
Also, people are lazy and busy. I go to the same agency, the same printer, the same delivery company all because I know how they work, they're reliable and do what I tell them too. I am sure lots of people are the same and will be nervous about trying someone new. It's tough, hence why I went in house!
I am now in quite a senior position within a brand and most of the people I hire who are external I go through a production agency or recruiter. The only person we use who is direct is a motion graphics guy who's a mate of someone in the team.
We are returning customers to the agency - they get a couple jobs a month from me and the motion graphics guy get's on average 2 jobs a quarter.
I think you need to know who within a business is doing the buying and sourcing of freelancers and target them. For example if you went to my boss to try and sell yourself she wouldn't have a clue what you were talking about or see the value, however if you came to me I might bookmark your name and if something came up I could use you if my normal agency were busy or had let me down.
Also, people are lazy and busy. I go to the same agency, the same printer, the same delivery company all because I know how they work, they're reliable and do what I tell them too. I am sure lots of people are the same and will be nervous about trying someone new. It's tough, hence why I went in house!
StevieBee said:
I run a specialist comms agency. Worked in the sector since '83 staring out as a Graphic Designer.
There's a bit of a paradox at the moment in that demand for good, creative content has never been higher. At the same time there's now no end of online services that you can subscribe to and use pre-made templates to create that content so every Tom Dick and Harry believe they are now a designer. This devalues what is a critical professional service making it more difficult to win work and / or work to a value that makes it worthwhile. But it is possible.
One of the hindrances to being a Freelance is that it's just you. You say that you can turn your hand to anything and most creatives can but it's good to be recognised as expert in one thing.
What I've done that is working well is to collaborate. My agency looks, feels and behaves like a large, full-service outfit offering the full range of services. In fact, the only employees are myself and my wife. I have a team of 10 or so people and businesses who white label their services to me. They are all independent and bill me for the work I get them to do. I don't hide this fact from my clients and those that have commented on the arrangement seem to like the idea (and appreciate the lower day rates that keeps us ahead of the bigger boys on pricing). We're punching well above our weight on the projects we're winning.
One of the other advantages of this approach is that you can earn a margin on the services you buy in. If you're only selling yourself, you're limited to what hours you can apply to a job. Margin based revenue means you can earn from organising printing, photography, media buying and the like.
The one downside in my approach is that it's difficult to create a business from which you can easily exit. But that's a problem for future StevieBee!
The other thing to look at is sector specialisation. Work to become known as the go-to-guy for creative in a particular market sector. Can take a while to attain that but, speaking from experience, is well worth the effort.
In terms of winning business day to day - a lot is dependant upon the type of companies you're pitching to. Over the years, I've found the smaller, kitchen-table-top, high street type operations tend not to be that serious about good design and just opt for the cheapest. All you're doing is providing them a cost baseline. Larger organisations are generally more serious. They may be more difficult to convert but when you do, the value of the order will be higher with the chance of forming a more lasting, profitable relationship.
When I went freelance back in the late 80s, one of my tricks was to wonder round companies and pick up one of their leaflets or brochures. The really bad ones, I'd redesign and then take the new design in to show them what they could have. I landed a Tour Operator as a client doing that. Ended up designing three travel brochures a year for them and kept them as a client for a good 10 years after that.
Hopefully there's some nuggets there you can use. If I were to pick out one to focus on, I'd say to think and act bigger than just a Freelancer.
HTH
I'm a freelancer (Web / UX / Search and Product design) I get 90% of my work through agency collaborations much like with yours. Its a far nicer way of working ive found that trying to do client conversion on my own. I have a set of skills and account management isn't what I enjoy as a 'creative' so to speak. I prefer to focus on what I'm good at and share a cut with a larger fish as it takes out a lot of the hassle, I send them one bill a month and its up to them to deal with all the clients.There's a bit of a paradox at the moment in that demand for good, creative content has never been higher. At the same time there's now no end of online services that you can subscribe to and use pre-made templates to create that content so every Tom Dick and Harry believe they are now a designer. This devalues what is a critical professional service making it more difficult to win work and / or work to a value that makes it worthwhile. But it is possible.
One of the hindrances to being a Freelance is that it's just you. You say that you can turn your hand to anything and most creatives can but it's good to be recognised as expert in one thing.
What I've done that is working well is to collaborate. My agency looks, feels and behaves like a large, full-service outfit offering the full range of services. In fact, the only employees are myself and my wife. I have a team of 10 or so people and businesses who white label their services to me. They are all independent and bill me for the work I get them to do. I don't hide this fact from my clients and those that have commented on the arrangement seem to like the idea (and appreciate the lower day rates that keeps us ahead of the bigger boys on pricing). We're punching well above our weight on the projects we're winning.
One of the other advantages of this approach is that you can earn a margin on the services you buy in. If you're only selling yourself, you're limited to what hours you can apply to a job. Margin based revenue means you can earn from organising printing, photography, media buying and the like.
The one downside in my approach is that it's difficult to create a business from which you can easily exit. But that's a problem for future StevieBee!
The other thing to look at is sector specialisation. Work to become known as the go-to-guy for creative in a particular market sector. Can take a while to attain that but, speaking from experience, is well worth the effort.
In terms of winning business day to day - a lot is dependant upon the type of companies you're pitching to. Over the years, I've found the smaller, kitchen-table-top, high street type operations tend not to be that serious about good design and just opt for the cheapest. All you're doing is providing them a cost baseline. Larger organisations are generally more serious. They may be more difficult to convert but when you do, the value of the order will be higher with the chance of forming a more lasting, profitable relationship.
When I went freelance back in the late 80s, one of my tricks was to wonder round companies and pick up one of their leaflets or brochures. The really bad ones, I'd redesign and then take the new design in to show them what they could have. I landed a Tour Operator as a client doing that. Ended up designing three travel brochures a year for them and kept them as a client for a good 10 years after that.
Hopefully there's some nuggets there you can use. If I were to pick out one to focus on, I'd say to think and act bigger than just a Freelancer.
HTH
Its also nice as my time is still my time and I can plan my own day (within reason for meetings and the like).
Your post prompted me to recollect other sales tricks I used in the past and remembered one that I was quite proud of!
This was in the late 90s. Had a share in a small London design company, my role was business development. I signed up to a Chartered Institute of Marketing two-day residential course on 'Procuring Marketing Communication Services' - aimed at Marketing Execs and those responsible for buying such services for their company. I signed up on the pretext of being such a person. Even made up some dummy biz cards!
I could have delivered the course but I reasoned that I'd have the opportunity to make chums with some potential clients. This I did. The meal and drinks on the evening of day one was a hoot.
About a month later I started going through the cards I'd collected to say that I'm now at this 'cracking design company'... let's have a drink.... etc.
Must have hoovered up a good eight or so clients, one of which I'm still doing the odd bit of work for 24 years later!
This was in the late 90s. Had a share in a small London design company, my role was business development. I signed up to a Chartered Institute of Marketing two-day residential course on 'Procuring Marketing Communication Services' - aimed at Marketing Execs and those responsible for buying such services for their company. I signed up on the pretext of being such a person. Even made up some dummy biz cards!
I could have delivered the course but I reasoned that I'd have the opportunity to make chums with some potential clients. This I did. The meal and drinks on the evening of day one was a hoot.
About a month later I started going through the cards I'd collected to say that I'm now at this 'cracking design company'... let's have a drink.... etc.
Must have hoovered up a good eight or so clients, one of which I'm still doing the odd bit of work for 24 years later!
StevieBee said:
'Procuring Marketing Communication Services' - aimed at Marketing Execs and those responsible for buying such services for their company. I signed up on the pretext of being such a person. Even made up some dummy biz cards!
I could have delivered the course but I reasoned that I'd have the opportunity to make chums with some potential clients. This I did. The meal and drinks on the evening of day one was a hoot.
I did the same thing but with a few of their digital marketing courses, at the time I was working within an agency doing all of their adwords and display ads. I remember sitting through the course thinking if this is what the CIM are teaching folk I should be fine to pick up some clients when what they have been taught goes wrong. I could have delivered the course but I reasoned that I'd have the opportunity to make chums with some potential clients. This I did. The meal and drinks on the evening of day one was a hoot.
I did have to double take when I sat down next to the chap who a year previously had been my lecturer on the core marketing modules for my Masters.
The worst one I've overheard was some nogging who purported to be a social media expert giving a training lecture in one of the comms agencies I was working in, they got him from one of those chamber of commerce directories, I was in doing a UX audit on a site for them and had to sit in the back of the room trying not say something.
I have seen it from both sides. (ran a small company which periodically needed art stuff doing, sign making, web design, logo design etc AND worked in the TV and film industry on set design / set building).
My advice, always strike whilst the iron is hot. Turn up on time, always be very flexible and follow up on the next business day.
Offer any amendments to be done same day and make 100% sure the changes are done right first time. Work to budget, if the client is worried about the budget offer them solutions.
So often graphic designers send over a design then a week later they call to ask was it ok? Usually by that point I have forgot exactly what I wanted to change, so more days pass. Then I get a ver2 and its still wrong. Then I get bored and cba and thats the end of that.
As for the TV industry, its a very niche area and often times its the same people over and over on each job so its a case of getting your name out there and turn up to every recce and be interested and offer solutions to problems. When it comes to the set get it done quickly and without fuss and you wont struggle to get work. But at the same time remember to manage expectations and never underestimate how long it will take to do something.
Work with them on the money, budgets are often tight and sometimes its better to get your foot in the door and do a job for not a lot of profit if there is a good chance of 2,3,10+ more jobs. We got to the point after 5 years of doing jobs for the same production companies that they didnt really need to ask for a quote, they still did of course, but they knew the price.
Design is a very personal thing and if you have 3 decision makers it can be very hard to get an approval, so always try and make a good solid point of contact and get 1 person to make the call on what they want. The more people you involve the less chance of you actually getting to the point of billable work.
Get to know your clients too, bit of chit chat, it helps a lot. I had one client who was a big Chelsea fan. Before I used to do any work for him I would go online and read up what was going on with the club. I dont even like football. I did a lot of work for him. Keep in touch with your good clients, even an email every 3-4 months just saying if they need anything etc. It just keeps your name on their mind.
HTH!!
My advice, always strike whilst the iron is hot. Turn up on time, always be very flexible and follow up on the next business day.
Offer any amendments to be done same day and make 100% sure the changes are done right first time. Work to budget, if the client is worried about the budget offer them solutions.
So often graphic designers send over a design then a week later they call to ask was it ok? Usually by that point I have forgot exactly what I wanted to change, so more days pass. Then I get a ver2 and its still wrong. Then I get bored and cba and thats the end of that.
As for the TV industry, its a very niche area and often times its the same people over and over on each job so its a case of getting your name out there and turn up to every recce and be interested and offer solutions to problems. When it comes to the set get it done quickly and without fuss and you wont struggle to get work. But at the same time remember to manage expectations and never underestimate how long it will take to do something.
Work with them on the money, budgets are often tight and sometimes its better to get your foot in the door and do a job for not a lot of profit if there is a good chance of 2,3,10+ more jobs. We got to the point after 5 years of doing jobs for the same production companies that they didnt really need to ask for a quote, they still did of course, but they knew the price.
Design is a very personal thing and if you have 3 decision makers it can be very hard to get an approval, so always try and make a good solid point of contact and get 1 person to make the call on what they want. The more people you involve the less chance of you actually getting to the point of billable work.
Get to know your clients too, bit of chit chat, it helps a lot. I had one client who was a big Chelsea fan. Before I used to do any work for him I would go online and read up what was going on with the club. I dont even like football. I did a lot of work for him. Keep in touch with your good clients, even an email every 3-4 months just saying if they need anything etc. It just keeps your name on their mind.
HTH!!
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