2. THE BUSINESS OF GRAPHIC DESIGN //
A PROFESSIONAL’S HANDBOOK
Hilary Ashworth //editor
The Association of Registered Graphic Designers of Ontario
L’association des graphistes agréés de l’Ontario
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4. CONTENT v Foreword
vi Acknowledgments
vii How to use this book
viii Introduction – Graphic Design Professional
Accreditation in Ontario– An Update
3 CHAPTER 1 // BECOMING
A REGISTERED GRAPHIC DESIGNER
3 What is graphic design
4 Areas of specialization
6 The profession
6 What is a Registered Graphic Designer?
7 Finding work as a graphic designer
11 What employers look for
14 Further resources
19 CHAPTER 2 // THE PRINCIPLES
OF DESIGN CONSULTING
by Jean-Pierre Lacroix r.g.d.
19 Building a strong client relationship
22 Presentations and meetings
24 Pricing your services
26 Creating a winning proposal or estimate
29 The project
30 Scheduling
34 Billing your clients
36 Further resources
39 CHAPTER 3// RULES OF
PROFESSIONAL CONDUCT
39 Responsibility to the Association and the profession
40 Responsibility to other members
40 Responsibility to clients and employers
41 Responsibility to society and the environment
41 Competitions and fees
41 Intellectual property and authorship
42 Further resources
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5. 45 CHAPTER 4 // A DESIGNER’S GUIDE TO
INTELLECTUAL PROPERTY
by Lesley Ellen Harris l.l.b.
45 What is intellectual property?
45 What is a trade mark?
46 How am I protected when I submit
an idea in confidentiality?
46 What is copyright?
47 Who owns copyright?
48 How is copyright protection obtained?
51 What are your remedies for copyright infringement?
52 Further resources
55 CHAPTER 5// ADMINISTERING
A DESIGN CONSULTANCY
by Kanish Thevarasa ca, cma
55 Checklist for new business owners
55 Start-up capital
57 Determining your business type
59 Developing a business plan
61 Maintaining your business
62 Taxation
67 Financing your business
68 Expanding your business
72 Further resources
75 CHAPTER 6 // MARKETING
DESIGN SERVICES
by Arlene Gould
76 Marketing strategy
77 Target marketing
78 Product
79 Place
80 Price
80 Promotion
81 Communicating the marketing message
82 Communication tools
86 Further resources
89 CHAPTER 7// STAFFING
A DESIGN CONSULTANCY
by Christina Jackson
89 Recruiting non-permanent staff
91 Recruiting permanent staff
91 Looking for talent
93 Hiring permanent staff
94 The interview
97 Managing and retaining staff
98 Employee evaluations
99 Firing
100 Sample job descriptions
102 Further resources
105 APPENDIX 1 // SAMPLE FORMS &
AGREEMENTS
106 Client /Design Brief
108 Design Purchase Order
109 Request for Estimate/Printing Purchase Order
111 In-house Estimate Worksheet
113 Retainer Form Letter
114 Client Estimate/Quotation
115 Design Proposal Letter
117 Change Work Form
118 Time Sheet
119 Job Scheduling Grid
120 Job Approval Form
121 Billing Docket
122 Invoice
123 Independent Contractor Agreement (General)
124 Independent Contractor Agreement (Project-specific)
125 Model/Talent Release Form
126 Employee Contract
127 Employee Performance Evaluation Form
129 Copyright Agreement
131 APPENDIX 2 // GLOSSARY OF TERMS
140 INDEX
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STAFFING A DESIGN CONSULTANCY
STAFFING A
DESIGN
CONSULTANCY
By Christina Jackson
INTRODUCTION // In good or bad economic
times, a company’s ability to recruit, manage,
and retain creative talent successfully is based on
established principles and activities. Individuals
successful in their staffing efforts will tell you
it’s a time-consuming process. Understanding
business needs and how new employees will
address them is not enough. Understanding
the mindset and needs of new staff is equally
important. While the time required to develop
this understanding can be significant, the invest-
ment is certainly worthwhile when weighed
against the costs of high employee turnover.
Before hiring a new staff person, ask yourself
if you really need another employee? The answer
may be yes if you and your existing employees
work at least sixty hours per week or if you are
forced to turn work away. Hiring should not
take place until this situation is at least six
months old. This is sometimes referred to as the
60/6 rule. If you don’t want to turn away work
and are desperate for help, consider the non-per-
manent alternatives—freelancers, temporary
help, and interns. You may have to pay more
and won’t get the benefit of employee continu-
ity, but you will avoid a long-term commitment
and associated risks.
RECRUITING NON-PERMANENT STAFF //
Freelancers // Hiring a freelancer is ideal when
you need an experienced, senior-level designer
who can come in for a limited time and work
expertly and efficiently with minimal direction.
When you need this kind of help, you probably
won’t have time to evaluate, screen, and train
appropriate candidates. You may want to hire
freelancers when work volume is average to
evaluate their abilities, provide on-the-job train-
ing, and initiate a relationship. Thus you will
develop a roster of potential freelancers before
critical need arises. Beyond that, the tactics used
for finding and interviewing freelancers are essen-
tially the same as those used for permanent staff.
WORKING SUCCESSFULLY WITH FREELANCERS
Successful working relationships with freelancers
are based on a detailed contract/agreement, strong
communication, and an accurate setting of expecta-
tions prior to each phase of a project. A sample
independent contractor agreement is available in
Appendix One: Sample Forms & Agreements.
Generally speaking, the contract or agreement
should account for every deliverable and deadline
associated with the project. More specifically, it
should detail the following:
01 Fees
02 Deliverables (Include everything for which the
designer is responsible, such as tasks and the number
of revisions provided in the existing fee structure.)
03 Definition of revision versus major re-work to help
differentiate between revisions included in the
original scope and alterations which will cost extra
04 Associated costs (materials, delivery charges, etc.)
05 Rights/usage
06 Kill fees (What you will pay the freelancer if the
project is delayed or cancelled, how much, and when.)
THE CREATIVE BRIEF
Because freelancers are usually hired when in-house
designers are busier than usual, projects are often
reviewed or handed off quickly, sometimes at the
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CHAPTER 7 //
expense of details. This is definitely a false economy
of time. If all relevant information is not provided
at the outset, major rework, which will take even
more time, may be required. Frustration is inevitable
and in some cases can lead to an unjustified loss of
confidence in the freelancer by your firm.
The creative brief should include:
01 Project description with key messages, character, and
tone
02 Target audience(s)
03 Objectives, including the audience response expected
or desired by the client and the end result the client
hopes to achieve
04 Budget
05 Any format or production limitations or requirements
Temporary help // Placement agencies or hiring
firms may help recruit temporary or permanent
staff. They review resumés, evaluate portfolios,
and check references. Usually they will also
take care of all taxes and other deductions.
Interns // The hiring of interns can benefit
both young designers and the companies for
which they work. Interns gain valuable, real
world exposure to projects and roles in a
design consultancy. You benefit from the addi-
tional, affordable assistance. On projects that
require a lot of routine or simple production
work, an intern can scan and format photos,
check the accuracy of information such as
phone numbers or postal codes, and re-size
layouts to meet the specifications of a variety
of publications.
Access to inexpensive labour is only the
most obvious reason to hire an intern. If you
wish to evaluate the management skills of a
staff designer in a low-risk way, let them man-
age the intern’s work. You can observe and
assess their potential without an official pro-
motion that could be difficult to undo.
If your company’s recruiting efforts are
hampered by an out-of-the-way location, hir-
ing interns is an excellent way to promote
your firm to young talent. A graduating
design student will be less inclined to rule out
a position with your company because of its
geography if he or she had a satisfying intern
experience while still in school.
A more altruistic reason for hiring interns
is the opportunity to pass on wisdom and
experience to the next generation of designers.
The cultivation and development of new talent
is an investment in the future of our profes-
sion. Most designers recall a generous mentor
who provided experience and guidance early
in their careers. Hiring an intern is an oppor-
tunity to give something back, to assume the
mentor’s role and pass on wisdom important
to any design career.
WHEN TO HIRE
Students are often available for
work during the summer. Since
summer is also a common time
for staff vacations, it is a good
time to hire an intern. While
availability is a factor in deter-
mining the best time to hire
interns, you must decide how an
intern will be useful. Who will
manage their time? Who will
check their work? Interns expect
to do their share of “grunt” work,
but they expect to do real design
work too and participate as a
member of your design team.
HOW TO HIRE
The easiest way to find and hire
interns is through a school. Many
post-secondary schools with
graphic design programs require
students to spend a semester or
more in a cooperative program
during the school year. Generally
speaking, the goal of these
programs is to let students use
their classroom-learned skills
in an employment environment.
Contact the program coordinator
at a local college or university to
find out more. If there are no
design schools nearby, potential
interns can be found in many of
the same ways as experienced designers: through
design associations, job fairs, industry contacts, and
word-of-mouth.
“Many design firms use
freelancers. This can
make sense under some
circumstances. However
if Canada Revenue
Agency (cra) audits your
company and decides a
freelancer is actually an
employee, your company
will be required to pay
the full amount of cpp
and ei contributions,
both the employer and
the employees’ portions.
In addition, penalties
and interest could be
levied. The following
factors are taken into
consideration when
determining the
employer-employee
relationship:
Control
If you, as the payer,
have the right to hire or
fire, determine pay rate,
decide when and where
the work will be done,
and how it will be done,
you are an employer.
Tools and Equipment
If you supply and main-
tain the tools needed to
do the job, you are an
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STAFFING A DESIGN CONSULTANCY
Is hiring an intern right for your company? To decide
whether an intern relationship is appropriate, ask
yourself:
01 Is the work appropriate for someone who has minimal
or no work experience?
02 Is it easy to review for quality?
03 Will the timeline of the project allow for rework
or corrections if necessary?
04 Will help and guidance be available and accessible?
05 Do you and your team want to work with interns?
To pay or not to pay It’s fairly
common for design interns to
work without financial compensa-
tion. In such cases, payment is
considered to be the work experi-
ence and the chance to make
professional contacts. If a student
is interning as part of a school
program, compensation is not
customary, but consider offering a
paid internship if the candidate:
01 Has a portfolio with several
well-designed, published pieces
02 Has completed several internships,
paid or not, with respected
design firms
03 Comes highly recommended by
a professor or previous employer
RECRUITING PERMANENT
STAFF //
Qualifications // Because compa-
nies structure positions and
their associated responsibilities
in such varied ways, it’s always
a challenge to evaluate a
designer’s skills and experience.
The art director role in one
company may include manag-
ing budgets and staff; in anoth-
er company it might not. One
company might expect an
intermediate designer to have
two years experience while
another might want five. To
help establish a high standard of professional
competence within the graphic design profes-
sion, the Examination Board for Registered
Graphic Designers has developed the Registered
Graphic Designers Qualification Examination.
Successful completion of this examination is
one requirement for accreditation as a
Registered Graphic Designer (r.g.d.). A
Registered Graphic Designer is a graphic
design practitioner, manager, or educator who
has met the qualification criteria of the
Association of Registered Graphic Designers of
Ontario (rgd Ontario) and has been granted
the right to use this professional designation.
In order to qualify to write the Registered
Graphic Designers Qualification Examination,
a designer must have successfully completed a
three- or four-year diploma or degree program
in graphic design, and have a minimum of
three to four years of relevant work experience.
Or, experienced designers who do not have
the required education may apply under the
Seniority Provision if they have more than
seven years of experience prior to the year 2000.
For prospective employers, the r.g.d. des-
ignation characterizes a pool of talent that has
met a clearly defined standard of competence,
education, and work experience. Approximately
900 graphic designers in Ontario have been
granted the right to use the r.g.d. designation.
However those who are not r.g.d. – accredit-
ed may still practise graphic design.
Looking for talent // Hiring managers can look to
a variety of sources to recruit creative talent.
Today, many employers post job openings in a
career section of their company’s own web site.
Web sites can be an effective recruiting tool if
anyone researching the company can conve-
niently view available positions.
It’s important to note that the state of a
company’s web site can have a positive or neg-
ative influence on the recruiting process. A
designer who arrives at a company’s web site
will quickly form opinions. If the site is well-
designed, recently updated, and informative,
it might prompt a job inquiry. Conversely, a
poorly maintained site could turn off prospects.
Good design is not only a key element of suc-
cess for products and services in the market-
place, it is also an important part of successful
recruiting, particularly for designers.
employer.
Chance of profit /
Risk of loss
If the degree of financial
risk taken by the worker,
and the degree of
responsibility for invest-
ment and management
held by the worker is
minimal, and there is lit-
tle opportunity for the
worker to experience
profit or risk of loss per-
forming his or her tasks,
you are an employer.
Integration
If the worker is operat-
ing his or her own
business, and his or her
work is not an integral
part of the payer’s
business, you are not
an employer.
If you are unsure
whether cpp contribu-
tions and ei premiums
should be deducted
from a worker’s pay,
you can request a ruling
from cra. Visit
www.cra-arc.gc.ca for
more info.”
Michelle Wales
Aquent
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CHAPTER 7 //
In addition to company web sites, there
are many ways to advertise job openings,
including commercial web sites, newspapers,
magazines, and trade publications. It’s impor-
tant to gather as much information as you can
about the venues that you’re considering.
Specifically, try to understand how successful
they’ve been in your geographic region and
with design professionals in particular. If a pub-
lication or web site has many design jobs post-
ed, it is probably visited by many designers.
Sources that target graphic designers should
produce more enquiries. If you’re not sure
where to begin, ask colleagues what sources
they’ve used and the results they’ve achieved.
WHAT TO INCLUDE IN ADS/POSTINGS
Some sources, particularly web sites, have specific
information fields which an employee must complete.
Classified and display ads do not. What should an
effective job posting include? While there is no tried
and true formula, the more pertinent the information,
the greater the likelihood you’ll attract the right
candidates. If salary information including benefits
is omitted, qualified candidates may assume you
aren’t offering appropriate compensation.
Here are some other categories of information
that could help potential candidates to make an
informed assessment:
01 Company description (If your firm isn’t nationally
known, you should explain what you do.)
02 Title of position
03 Position requirements: Responsibilities, skills, educa-
tion, and experience (including the number of years)
04 Special commitments required of staff, such as
travel or time on call
Before advertising, make sure you can handle
a large volume of responses. Newspapers reach
a huge general audience and some web sites
make it extremely easy for job seekers to apply
for positions. Each can generate a flood of
enquiries. Responding to them promptly is
not just good public relations for your compa-
ny, it also reduces the possibility that you’ll
lose the best candidate. This is especially true
during times of economic prosperity and low
unemployment.
Establishing a strong presence within key
industry associations and regularly attending
their events is ideal. However, even minimal
involvement can be worthwhile. The mere act
of joining an association may be a good first
step. It places your name and your company’s
name in front of potential new talent. rgd
Ontario posts job listings in the members only
section of its web site (www.rgdontario.com)
for a minimal fee.
Word of mouth is also a good way to iden-
tify potential recruits because the information
usually comes from a source you know and
respect. A strong, positive reputation based not
only on quality of work, but also on the work-
ing environment and employment policies,
can assist a company in its recruiting efforts. A
negative reputation can limit recruiting suc-
cess. Designers often go to recruitment firms
with a list of places they would like to work
and places they will not consider. Design com-
munities are tight knit. Once a firm establishes
a reputation—good or bad—it spreads quick-
ly throughout the community. Word of mouth
is consequently the proverbial “double-edged
sword.” Working for you, it’s one of your most
effective and efficient recruiting tools. Working
against you, it can be a major obstacle to suc-
cessful recruiting.
Unless a job fair is focused on creative
talent, it probably won’t be an effective tool
for recruiting designers. The most useful are
produced by schools. As might be expected,
job fairs held by design schools will introduce
you to entry-level talent. You may wish to con-
tact local schools to obtain a copy of their job
fair schedule and/or get on their mailing lists.
Some of the most successful recruiting
results can come through existing employees.
By establishing an employee referral bonus
plan, you turn your most informed advocates
into potential recruiters. Your employees can
also offer potential recruits key insights and
information on what it’s like to work at your
company. For an employee referral bonus
to work, your staff must have a positive
attitude. No matter how large the bonus,
an unhappy or unfulfilled designer working
at your firm will not be inclined to recom-
mend your company.
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STAFFING A DESIGN CONSULTANCY
PLACEMENT AGENCIES/PROFESSIONAL
RECRUITERS
A placement agency offers the same benefits for
recruiting full-time employees as it does for temporary
help. Placement agencies and professional recruiters
regularly deal with a large group of individuals and
companies and spend significant time getting to know
both. The depth and breadth of their knowledge about
each company and candidate helps both you and the
candidate make the most informed decision possible.
It’s in everyone’s interest to have the most complete
picture possible before a hire is made. Incomplete
information can lead to unpleasant surprises that cast
doubt on your decision to offer or the candidate’s
decision to accept a position.
In addition, reputable recruiters offer both you
and potential employees the closest thing to a neutral,
objective perspective during employment negotiations.
Recruiters hear the negotiable and nonnegotiable
points from both sides and can therefore keep the
process moving in a productive direction. While most
recruiters are hired and paid by the design consultancy,
they must also represent the candidate’s interests
to ensure that a good match is made.
The perception, if not the reality, of a recruiter’s
neutrality is especially useful when the labour pool is
tight. An informal and professional recruiter can help
you “sell” your company to a sought after candidate.
Candidates for a position expect to hear the merits of
working there. However, when someone on the outside
recommends it, there is an added air of objectivity.
In many creative environments, the creative
director or art director holds or shares responsibility
for all the key areas of staffing—recruiting, hiring,
training, managing, and retaining. You may consider
using a placement firm as unaffordable but before
ruling out this option analyze the time and resources
required in the recruiting process to determine the
most economical choice. The fees and/or mark-ups
of recruiters and placement firms can vary. Check
these out before you make your decision. Be sure you
understand any “guarantees” or other safeguards that
might protect you if the placement doesn’t work out.
INITIAL SCREENING // You may prefer to
review portfolios or samples before you bring
a designer in for an interview. A phone inter-
view before the face to face can also save time.
Below are some questions that can be used
in a phone screening:
01 How long have you been working in the
design profession?
02 What was your education and/or training
in graphic design?
03 What kinds of companies have you worked for?
04 What kind of work do you have in your portfolio?
05 What software programs are you proficient in?
One of the most important topics to cover dur-
ing the initial screening, whether by phone or
in person, is the candidate’s recent salary history
and the range being sought. You will need this
information eventually to help structure your
offer, should you decide to extend one. But you
risk wasting everyone’s time if you begin the
interview process without it.
HIRING PERMANENT STAFF //
Presenting your firm // Before you bring candi-
dates in for an interview, think about their
needs, their potential questions, and how you
will address them. Interviews are a mutual
“audition” so make sure you have the informa-
tion you need to provide complete, accurate
answers. In many cases, new hires fail not
because they lack the right skills but because
they are not the right “fit” for the company.
That’s why it is important to paint the most
complete picture possible, not just of the posi-
tion, but also of the people, processes, and
work environment in your company.
Be prepared for questions about possible
career paths within your company. You should
be able to describe the options available to the
candidate beyond the role and responsibilities
for which they are being considered. If there is
no defined career path or opportunity for
growth, be candid and let the candidate decide
with this information in mind. Otherwise,
you may face a demoralized designer in the
near future, who may not stay with your com-
pany for long.
CLIENTS/PROJECTS
Prepare an informal presentation of your company’s
work and clients. You want to make sure the kind of
projects on which the candidate will work aligns with
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CHAPTER 7 //
career goals and interests. This presentation will also
enable the candidate to evaluate the calibre and
variety of your work. It is important to present a
complete, honest representation. It’s fine to present
your most exciting projects but you must communi-
cate the day-to-day reality of the work and the job
for which you are hiring. You should also review your
complete client roster and explain how projects are
initiated and assigned. Most candidates want to
understand who your clients are and what the
current and future opportunities are with each of
them. One of the most common reasons designers
seek a new job is a lack of variety in their work.
To address this issue, some firms periodically rotate
client assignments. If you have such a system, be
sure to discuss it.
YOUR CULTURE AND WORK STYLE
By reviewing the initiation and assignment of projects,
you give candidates a sense of how your company
and teams are structured. What they might not get
is a clear understanding of your culture and work
style. Be prepared to review your values and style
of management and communication. If there are
strong cultural norms in your company, explain them.
For example, if continuous learning is fundamental
to your corporate culture, explain how you support
it with such things as tuition reimbursement or
lunch-time seminars.
FREELANCING
Another issue that candidate and employer some-
times fail to address is freelancing. It’s always best to
clarify both the company’s policy and the candidate’s
wishes in this area. By so doing you may avoid a
future conflict that cannot be resolved. Companies
can sometimes address this issue by requiring new
employees to sign a “non-compete” agreement.
Generally this defines the terms under which an
employee can or cannot work for payment outside the
company, the restrictions on disclosure of trade secrets
and confidential information, and any restrictions on
the personal use of company-owned equipment and
tools. A sample non-compete agreement is included
in Appendix One: Sample Forms & Agreements. If
there is no established policy, put any terms agreed
upon in the offer letter.
The interview // As well as preparing information
about your company, develop a list of questions
you plan to ask.
QUESTIONS
As mentioned earlier, determining that candidates will
be the right fit for a company is just as important as
determining their skills and experience. Look at some of
the best fits or performances within your company and
compare them to what you have learned during candi-
date interviews. This can significantly increase the like-
lihood of making a successful new hire. The following
questions focus on past behaviour. They can help you
anticipate how candidates will conduct themselves on
the job. You may not have time to ask all of these
questions. Choose a few from each category:
QUESTIONS RELATED TO EXPERIENCE
01 In your work experiences so far, what have been
your responsibilities? What are your primary
responsibilities now?
02 Have you ever managed other designers or production
staff? Budgets? Production schedules?
03 Have you ever had final creative authority? If so,
how often did you have final say on the design or the
look and feel of a project before it was submitted to
the client?
04 What experience have you had working directly with
clients? Have you attended meetings with them or
served as a point of contact?
05 Have you ever hired or managed photographers or
illustrators? Have you art-directed photo shoots?
QUESTIONS RELATED TO BEHAVIOUR
OR WORK STYLE
Attitude
06 How do you deal with conflict and difficult people?
07 How do you obtain clarity with a project that seems
to be unfocused or lacks complete information?
08 When deadlines or priorities seem to be in compe-
tition with each other, how do you react and what do
you do?
09 Give me an example of a problem that came to your
attention but wasn’t your responsibility. What did you
do?
Initiative & Reliability
10 Describe a situation in which you had to deal with a
significant, last-minute change on a project. How did
you handle it?
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STAFFING A DESIGN CONSULTANCY
11 Tell me about a time when you improved a process
or a system while working on a project.
12 Have you ever assumed a leadership role in the
middle of a project? If so, how did it happen and
what was the outcome?
13 Tell me what you do to continue to learn and
improve your skills.
14 How do you ensure your projects are on track
and accurate?
Values
15 What motivates you?
16 How do you stir or spark your creativity?
17 Tell me about the best team you’ve ever worked
with. What made it such a positive experience?
18 What has been the single most important professional
event in your life? What made it so important?
QUESTIONS RELATED TO PORTFOLIOS
Obviously, you can learn much about your candi-
dates’ creative talent during portfolio reviews. As
candidates present their work, your questions should
address the following:
Understand their role in the production of each
piece of work:
01 Art direction/concept
02 Design
03 Copy
04 Production
Learn about their:
05 Management skills (people, processes, and budgets)
06 Technical skills/expertise
07 Presentation skills
Assess their:
08 Problem-solving skills
09 Leadership skills
10 Temperament (how they deal with pressure and
how flexible they are)
QUESTIONS TO AVOID
Section 5(1) of the Ontario Human Rights Code:
“Every person has a right to equal treatment with
respect to employment without discrimination
because of race, ancestry, place of origin, colour,
ethnic origin, citizenship, creed, sex, sexual orienta-
tion, age, record of offences, marital status, family
status, or handicap.”
This limits the kinds of questions that can be
legally asked of a candidate. You can avoid potentially
illegal questions by focusing only on information directly
related to the job and its responsibilities. Avoid any
questions that refer to any of the subjects mentioned
above.
Checking references // Before extending an offer,
many employees contact the candidate’s former
places of employment. This process can be
useful because past behaviour is often a good
indicator of future performance. Before doing
so, an employer is required to obtain the can-
didate’s permission. Once this permission is
obtained, the employer should limit questions
to the same topics covered during the inter-
view process. If you are the former employer,
you are on safe legal ground if you answer all
questions truthfully. Any subjective evaluation
of a former employee exposes you to some
risk. Do not answer questions related to race,
ancestry, place of origin, colour, ethnic origin,
citizenship, creed, sex, sexual orientation, age,
record of offences, marital status, family sta-
tus, or handicap.
In recent years concern about the threat of
possible litigation has led many companies to
establish policies that limit the information
anyone acting in a human resources capacity
can provide during a reference check. In these
cases, the hr department may verify onlythat
the candidate did, in fact, work for the com-
pany and provide start and end dates.
Trial assignments // In addition to a thorough
portfolio review and an in-depth interview,
you might still want more assurance that
you’re making the right decision. It’s not
uncommon for companies to give prospects a
trial assignment to see how they work and
confirm the level of their creative ability.
If you offer a trial assignment, it is impor-
tant that you treat it as much like a real
assignment within your company as possible.
Give the candidate designer a complete cre-
ative brief that includes detailed information
about the client, the product or service, and
the goals of the project. Some companies give
their prospects a real job, while others create
a fictitious project. Whichever you choose,
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CHAPTER 7 //
demonstrate respect for the candidate’s time,
and the value of design, by paying for the work.
If there isn’t time for a trial assignment, you
could ask for electronic files in need-to-know
software for projects on which they were
responsible for the design and production.
By analyzing these files, you can assess a can-
didate’s technical ability. Electronic files can
be requested even before a portfolio review
and used as part of the screening process.
The negotiation process // After you have chosen
the best candidate for the position, it’s time to
make an offer. Begin by preparing an offer letter
that details the terms of employment, including
all forms of compensation and benefits. It is
important to take its prepa-ration very seriously.
Candidates evaluate employment opportunities
and companies based on these offers.
If you are unsure of an appropriate salary,
there are steps you can take. First, consider
the candidate’s salary history. Most profes-
sionals are unwilling to consider a move that
doesn’t include a salary increase of at least
ten per cent. Consider the businesses for
which the candidate has worked. Some may
typically pay under or over market value.
Consider current economic conditions. If a
designer has been significantly underpaid
because of an economic downturn or the
specific financial situation of an employer,
one might reasonably expect a request for an
adjustment significantly beyond the ten per
cent benchmark.
Annual salary is only part of the information
that should be included in the offer letter.
The complete offer should include:
01 Salary
02 Vacation and benefits
03 Stock options
04 Monetary and non-monetary perks
05 Bonus or commission structure (clearly and
specifically stated with precise information about how
it is earned)
In today’s competitive environment, some
companies offer non-traditional perks. Think
creatively about what you can offer. Considered
in isolation, these may not seem significant in
a candidate’s decision-making process. But if
competitive offers are otherwise closely
matched, non-traditional incentives may tip
the scale in your favour. Here are some exam-
ples of non-traditional perks:
01 Flex time or work-from-home
options
02 Subsidized parking or fares for
public transportation
03 Free massages
04 Friday happy hours
05 Money for tuition or other forms
of professional development
06 Team building meals, events, and
trips
07 Free use of company vacation
homes
After you compile all of the
information you plan to
include in the offer letter,
consider what flexibility, if
any, you have in each area of
the offer. It’s better to be pre-
pared with honest, confident
answers than to come across
as unsure or uninformed dur-
ing negotiations with a
potential employee.
Once you have completed your offer letter
and list of negotiable items, develop a mental
or written sales pitch for your company.
During the offer-negotiation process, one of
the most common mistakes employers make
is to assume the offer on paper will by itself
sell the candidate on the position and the
company. Communicate the company’s vision
and plans for the future, as well as the tangi-
ble and intangible benefits of coming on
board. Offer a specific and honest assessment
of your company. It’s important that the can-
didate understands the culture, opportunities,
and positive attributes of your company
before making a decision.
“We polled our staff
to see what motivates
them. One of the items
that came up was fun.
We make sure that
there are opportunities
for our staff to have fun
and connect with each
other. Every Friday in
our office is doughnut
day. Everyone brings in
doughnuts to share.
And, make sure you
bring good doughnuts.
Every year we have
a scavenger hunt. We
take the day off. We
make a list, divide into
teams, and try to find
the most bizarre
things —ugliest t-shirt,
a used black comb. We
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STAFFING A DESIGN CONSULTANCY
EMPLOYMENT STANDARDS IN ONTARIO
The mission of the Ontario Ministry of Labour is “to
advance safe, fair and harmonious workplace prac-
tices, which are essential to the social and economic
well-being of the people of Ontario.” The Ministry’s
web site, www.gov.on.ca/lab/es/ese.htm, features
up-to-date information on many employment-relat-
ed issues including:
01 Employer’s Guide to the
Employment Standards Act
02 Information for new workers and
students working in Ontario
03 Homeworkers
04 Hours of work
05 Minimum wage
06 Overtime pay
07 Parental and pregnancy leave
08 Public holidays
09 Severance pay
10 Termination of employment
11 Vacation pay
FEDERAL EMPLOYMENT
STANDARDS
Visit Human Resources and Skills
Development Canada’s web site
www.hrdc-drhc.gc.ca for informa-
tion about employee deductions for
income tax, cpp, health tax, and
employment insurance.
MANAGING AND RETAINING
STAFF // The length and com-
plexity of the process of recruiting and hiring
presents a strong case for holding on to
employees. Successful employee retention
begins with the honesty and accuracy of the
information communicated at hiring and con-
tinues with appropriate management policies
and practices. Hundreds of books provide
general information and guidance applicable
to a variety of professions. While useful and
important, they do not address some specific
issues that can affect retention within a design
consultancy.
Creative freedom // Lack of creative freedom is
one of the most common criticisms voiced by
designers. Designers often feel they cannot make
as many creative decisions as they’d like because
management either calls the shots or surrenders
creative control to the client. No official bench-
mark quantifies the amount of creative freedom
necessary for a reasonable degree of job satisfac-
tion. However, creative managers who care about
retention should be sensitive to this issue and
attempt to understand the needs and tempera-
ment of their designers.
If you have difficulty relinquishing creative
control, look for ways to let go and give your
designers the opportunity to make decisions.
If you give clients too much creative authority,
you might want to consider limiting the degree
to which you bend or mold your standards to
garner client approval.
Variety in work // Lack of project diversity is
another frequently cited reason for dissatis-
faction with management. Creative firms
often become known as specialists in a certain
business niche or market category. This can be
a competitive advantage in sales pitches to
potential clients but some designers are less
inclined to remain with companies where they
fear a lack of variety in their work. This is not
to say that all niche firms are automatically
handicapped. However, companies offering a
diverse client base and lots of project variety
improve their recruiting and retention prospects.
As mentioned in the section on recruitment,
a common mistake of employers is failure to
“sell” the candidate on their company and on
the position offered. If a company can offer
variety in the kinds of projects given to design-
ers, this should be touted during the interview.
Some firms address the desires for creative
freedom and variety by taking on pro bono
accounts that offer absolute creative freedom
for their designers and different types of work
for the firm. This can help, but ultimately the
best approach is candid discussion between
you and your designers.
give each team a budget
of $20. We get together
afterwards at a bar and
go down the list. Each
team presents what
they have found and we
give a rating as a group
as we go through all of
the items. Then, as a
group, we decide which
team wins and they get
the grand prize. We
have had people ask,
‘Do you do these things
as team-building exer-
cises?’ No, we don’t.
We do them as a
release, to get out of
the office, and do
something different.”
Barb Woolley r.g.d.
Hambly &Woolley Inc.
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CHAPTER 7 //
Other significant management issues cited as
problematic by designers:
01 Unreasonable expectations about working long hours.
02 Lack of communication throughout the creative process.
03 Disorganization in the way projects are scheduled
and managed.
04 Unrealistic expectations of the creative team and little
understanding about design’s role and contribution.
(This is a particular problem in companies for which
creative work is not the core business.)
Employee evaluations // Large to mid-size com-
panies usually have an employee evaluation
or appraisal process. Periodic opportunities
to give and receive feedback within the context
of informal and formal employee reviews
are valuable whatever the size of company.
When this kind of process is unstructured
or absent, managers miss an opportunity
to improve employee performance through
constructive dialogue. This exchange also
increases the likelihood of retaining good
employees. They view the company as positive-
ly, routinely communicating standards and
expectations, recognizing achievements, and
consistently working to help them improve
performance. Raising individual performance
levels can also lead to improvement in the
company overall.
There are additional benefits to a defined
performance review process. Managers who
do not have a natural inclination to set a dis-
ciplined course for their business are forced
to establish measurable and accountable goals.
Managers who tend to avoid confronting per-
formance issues may find it easier within a
structured context.
However, feedback on employee behaviour,
whether positive or corrective, is most valu-
able and most effective when it is given at the
time of the behaviour. Periodic reviews are no
substitute for everyday communication and
performance management.
ESTABLISHING AN EVALUATION PROCESS
To ensure employee evaluations are fair, complete,
and beneficial, it is important to establish a process.
Each employee should receive a clear explanation of
the way in which this process works. There are
many ways to manage employee evaluations suc-
cessfully. Here are some general guidelines:
01 Begin by reviewing overall company objectives.
Individual goals should be linked to or cascade from
broader, company-wide objectives. Do this and you
demonstrate how the individual contributes to the
success of the company, as well as to his or her own
success.
02 Make individual goals job specific. They should apply
to areas of responsibility, e.g., stay on budget, estab-
lish and meet deadlines, maintain
quality control.
03 Make every effort to ensure goals
are within the power of the
employee to achieve. It is disheart-
ening to see hard work go unre-
warded because someone else sab-
otaged a goal.
04 Put goals in writing and try to
make sure they are measurable
or that the criteria for success are
clear and unambiguous.
05 Meet one-on-one at least quarterly
to provide feedback, praise, and
constructive criticism. Such
meetings also give the manager a
chance to review any shifts in
priorities resulting from changes
in the company’s needs.
06 Link employee development to
appraisal. In other words, make
sure the employee can see posi-
tive results (more responsibility,
improved compensation) as they
refine or increase their skills.
07 If more than one person is apprais-
ing an employee’s performance,
make sure everyone uses the
same criteria.
08 Set a time and format for each
employee to respond to the
review.
09 Establish an appeal process for
the employee.
“Having loyal employees
is a huge advantage in
building a successful
business. As employers
we can make work an
enjoyable, satisfying
experience. To do their
jobs efficiently designers
and production staff
need the proper tools,
so we ensure that
hardware and software
are up to date. Our pro-
prietary, computerized
process-management
system ensures accurate
job tracking and billing
without time sheets. It
also results in an organ-
ized workweek, which
reduces unnecessary
stress. Since we are in
a business park away
from shopping ameni-
ties, we have a full,
stocked kitchen. We
treat the staff to pizza
lunches regularly and
everyone gets a cake to
share on his/her birth-
day. We strive for an
atmosphere that is pro-
fessional and fun. We’ve
learned over the years
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STAFFING A DESIGN CONSULTANCY
FIRING // For most managers, firing an
employee is the most difficult and unpleasant
responsibility they face. Inevitably a certain
degree of angst will accompany the process.
But there are ways to ensure it is a fair, appro-
priate course of action. No conclusions should
be drawn until a thorough investigation has
been conducted and all facts gathered.
This should focus on the employee’s work
history as well as the specific performance
problem and any factors affecting it. Many
performance problems can be
linked to communication
because many managers are
doers not communicators.
Even if other employees don’t
have problems with a manag-
er’s communication style it is
still worthy of examination.
Performance problems may
also reveal a need for addi-
tional training.
After gathering all the
information and understand-
ing all the factors influencing
an employee’s performance,
meet with the employee and
discuss them. To minimize
the risk of future litigation,
review applicable legislation
relating to termination or
seek legal counsel prior to this
first meeting.
Probationary meeting // Before
you meet to discuss an employ-
ee’s problems or deficiencies,
define the problem in writing.
Give specific examples of prob-
lem behaviour and how it must
be corrected if the employee is
to avoid termination. When
you review this information,
presented as a letter to the
employee, be sure the employee
understands the steps required
to successfully reform perform-
ance. Include a deadline for changing behaviour
or achieving specific goals. Job-related perform-
ance goals are easier to define and quantify but
behavioural changes require equally specific
benchmarks. Otherwise, the employee may
not clearly understand what is required to
avoid termination.
During a meeting of this nature, do not be
surprised if the employee is shocked or upset. To
avoid misunderstanding or misinterpretation,
another person less directly involved should
be present.
After review of the written assessment, the
employee should be given the opportunity to
sleep on it before signing the review and
agreeing to its content. Encourage the employee
to submit a written response to the issues
raised in your letter.
Ideally the employee will accept the accuracy
of the letter and the terms of the probation
and make the necessary adjustments. If the
terms are rejected or the terms are not met, it
is necessary to terminate the employee.
At the time of termination, it is again advis-
able to have another person attend. The
employee should receive a letter that specifically
states the terms of the termination, including
information on any severance package, unem-
ployment insurance, and benefits. All oral and
written communication should conform to
labour laws.
Throughout this process, it is important
that you exhibit wisdom, common sense, and
humanity. Other employees will judge the
fairness and benevolence of the process. If
they perceive it as unfair, arbitrary, or vindic-
tive, significant morale problems may result.
To avoid this and to preserve the dignity of
employees facing termination, many managers
give terminated employees the option of
announcing their decision to move on to an
opportunity that better matches their strengths
and/or career goals.
In some cases, it may be necessary to insist
on an employee’s immediate departure. If so, it
is advisable to have a checklist in hand of all the
items the employee must turn over to the com-
pany. If there is a systematic process to return
these items, it can be an uneventful, matter-of-
fact transfer. A courteous offer to help the
employee gather personal items can sometimes
ease the discomfort of the situation.
that if you let people
grow their interests
beyond their initial job
description then it results
in a stronger company.
For example, one person
with an interest in data-
base software helped
develop our excellent
job-tracking system. We
make every effort to
match the type of work
with the individual. Some
people like being parked
on long, complex jobs
while others prefer ‘in
quick/out quick’ projects.
We’re very open about
how the business is run,
something we know staff
appreciates. They know
what we need to bring in
each month to break
even. They know when
we’re doing well—and
when we’re not. We ask
for ideas to keep the
studio successful. We
know— and we make
sure our employees
know—that we succeed
or fail as a team.”
Diane Dufour r.g.d.
Accurate Communications
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18. 100
CHAPTER 7 //
CONCLUSION // Companies that successfully
recruit, manage, and retain creative talent will
enjoy a competitive advantage. These compa-
nies will recognize and address the changing
needs of designers who seek, among other
things, variety in their projects and flexibility
in their workplace. Forward-thinking creative
managers, those who consider their recruiting
and retention strategies an important part of
their business plan, will be best positioned to
surmount a fundamental obstacle to success.
SAMPLE JOB DESCRIPTIONS
Every company has specific staffing needs that
depend on its size and scope of work. Job descrip-
tions should be customized accordingly. These
sample job descriptions may be a helpful start.
JUNIOR DESIGNER //
Education
01 Three- or four-year diploma or degree
in graphic design
Experience/skills
01 Macintosh literacy
02 One to two years in a design firm or agency
03 Proficiency in the most current design and production
software tools (e.g. QuarkXPress, Adobe InDesign,
Adobe Illustrator, and Adobe PhotoShop)
04 Knowledge of html, Macromedia Dreamweaver, and
Macromedia Flash (if the firm works in new media)
05 Knowledge of printing production (or information
architecture in new media)
Important attributes
01 Attention to detail
02 Positive attitude
03 Willingness to learn
04 Ability to work as part of a team
05 Ability to recognize and adapt to changing
conditions, including redefinition of role as needed
06 Ability to prioritize
Primary responsibility
01 Efficiently develop and execute design concepts
Secondary responsibility
01 Supervise print production
Salary range
$30,000 to $45,000*
SENIOR DESIGNER //
Education
01 Three– or four–year diploma or degree
in graphic design
Experience/skills
01 Five to ten years experience in a design firm or agency
02 Ability to articulate the design process to clients
and staff
03 Project management and supervisory experience
04 Expert skills in the most current design/
production tools
Important attributes
01 Attention to detail
02 Ability to supervise junior designers and manage
projects from start to finish
03 Self-motivated
Primary responsibilities
01 Efficient management and execution of design projects
02 Supervision of junior designers and/or production staff
Secondary responsibilities
01 Contribute to or develop written design proposals
02 Hire and manage illustrators, photographers,
and printers
03 Manage client relationships
Salary range
$45,000 to $55,000*
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STAFFING A DESIGN CONSULTANCY
CREATIVE/DESIGN DIRECTOR //
Education
01 Three– or four–year diploma or degree
in graphic design
Experience/skills
01 Six to ten years experience in a design firm or agency
02 Solid management and leadership experience and skills
03 Expert skills in the most current design/production tools
Important attributes
01 Strong problem-solving capabilities
02 Outstanding communication skills
03 Ability to recognize and adapt to changing
conditions, including redefinition of roles—their
own and others—as needed
04 Share leadership skills
Primary responsibilities
01 Establish department goals and objectives
02 Create and manage systems and processes within the
firm/department
03 Develop and manage client relationships
04 Develop and manage budgets
05 Develop and manage staff
06 Develop and write design proposals
Secondary responsibilities
01 Evaluate and hire new staff
Salary range
$65,000 to $80,000*
PRODUCTION MANAGER //
Education
01 Two– or three–year diploma or degree in graphic
design production
Experience/skills
01 Expert knowledge of production tools and processes
02 Three to ten years experience with a production
house, design firm, or agency
Important attributes
01 Attention to detail
02 Good management and strong leadership skills
03 Ability to recognize and adapt to changing conditions,
including redefinition of role as needed
Primary responsibilities
01 Establish timelines on multiple projects, resolve schedul-
ing conflicts, and create critical paths
02 Manage supplier relationships, including their selection
based on an evaluation of costs and services
Secondary responsibilities
01 Press checks including four-colour correcting, also paper
purchasing
02 Advise designers on appropriate and new production
techniques
Salary range
$45,000 to $55,000*
* NOTE: Based on the average of responses to the
2003/2004 rgd Ontario/Aquent National Survey of
Graphic Design Salaries & Billing Practices, by
individuals with job title indicated working in Ontario
in 2003. For a copy of the complete results of this
survey, contact the Association of Registered Graphic
Designers of Ontario or Aquent. Note the caveat
expressed in the survey with respect to the use of
the data.
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20. 102
CHAPTER 7 //
FURTHER RESOURCES //
Government
For general information on all federal programs,
services, and initiatives call 1.800.O.Canada
(1.800.622.6232).
Canada Revenue Agency
www.cra-arc.gc.ca
Human Resources and Skills Development Canada
www.hrdc-drhc.gc.ca
Ontario Ministry of Labour
Employment Standards
For inquiries and general information about
the Ontario Employment Standards Act, call
the Ministry of Labour Employment Standards
Information Centre at 416.326.7160 in Toronto,
or toll free in Ontario at 1.800.531.5551.
Web: www.gov.on.ca/lab/english/es/
Books
camp, richard; mary vielhaber and jack l.
simonetti. Strategic Interviewing: How to
Hire Good People. Josey-Bass, 2001.
cohen, david. The Talent Edge: A Behavioral
Approach to Hiring, Developing, and Keeping Top
Performers. John Wiley & Sons, 2001.
harvard business essentials. Managing
Creativity and Innovation. Harvard Business School
Press, 2003.
von stamm, bettina. Managing Innovation, Design
and Creativity. John Wiley & Sons Canada, 2003.
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