When it’s lingered too long. When it just won’t let go. When it clings, and clings, and clings. When that happens, there’s a switch that goes on. Similar to Sylvester Stalone’s switch in Over the Top that makes him one hell of an arm wrestler. This switch puts design into hyperdrive deliverable mode. When that happens, there’s less compromise and there’s less time for feedback. When that happens, it’s head down, nose to the grind stone, grinding out whatever needs to be made. Expertise takes over. Knowing the best way to do it and just doing it takes over. Buff, tweak, finalize, send. Done and done.
Urgent Deadline Fatigue
This business has urgent deadlines coming out of its ears. I have to admit, I do love them. A new exciting project comes knocking at your door and the rush can be quite exhilarating. Can you do it? Can your team lay down a process, rise to the occasion, and launch this thing sooner than anyone thinks possible? Are you up for the challenge? Over the years, we’ve been able to make some pretty crazy deadlines, especially w/ Action Backed. But there is a limit.
At this point in time, I have big time Urgent Deadline Fatigue. When you have UDF, the work just doesn’t taste as sweet. The challenge is more of a nuisance. And the process not all that enjoyable because you start to resent the fact you were invited into the madness in the first place.
To counter that, I’ve said no to more stuff. A few instances that I still might be regretting. But alas, I’ve learned to push my creative output only so far. Beyond a certain point it’s just not a good idea. The end results tend to be uninspired, and that’s no good for anyone.
If it’s no this time, it’s not you, it’s me. Of course, if you have a project with a normal timeline, well, let’s talk for sure.
Skins, Thick and Thins
Design is contentious I’m sorry to say. Any time you make something out of nothing with intention and not randomness, there are right ways and wrong ways to go about it. And at the time of inception, it may not be clear which is which. So smart people work together to try and figure it out. Smart people, hopefully with a point of view.
This means that agreement is not always had. Alignment not 100%. Smooth sailing, rare. Design usually comes with options. A client offers up opinions on what they do not like. Designers fight for what they believe is right. It’s a process. In the thick of it, tensions can get high, deadlines need to be met, uncertainty is common.
That’s just how it is. We are here to make it happen. There are those adult coloring books out there for those with thin skins. If you want to make something great to move people to action, then let’s get to it. Feelings may get hurt along the way, but it isn’t personal. It’s work, and it needs to get done. A reminder for designers and clients alike.
The Creativity Whirlwind
If I’m not frantically trying to get it all done, I’m not doing enough.
If I’m not sweating an urgent deadline, I’m not doing enough.
If I’m not pushing the design to the edge, I’m not doing enough.
If I’m not worrying about something, I’m not doing enough.
These are things, I think, all designers say to themselves. Creative designers, who must work 12 hours a day, who must fail regularly in order to succeed, who must tear the work apart before it can get better. All because the designer loves what he or she does and all in order to make sure the work is the best it can be. They go through all of this, a tried and true process from beginning to end. And when over, the designer, hopefully, can start it all over again with another badass client. If the designer is any good that is.
Or maybe, the designer gets in around 9:30 and leaves at 5:00. He or she sticks to a process for the most part, strays when necessary, and gets things done in a timely fashion. The work is inspired and steady. You can tell it’s meant for day-in, day-out creativity. The teams are like-minded enough where mutual respect is a mainstay and expectations are reasonably human. And when the process starts over again, it ebbs and flows, with the potential to be uncertain and even slowed down as needed. Which is more than okay. This path of creativity, ideas, and making shit happen is meant for a very long road of discovery and beauty.
References:
The Links Between Creativity and Depression
What works for you
How do you keep your brain moving? Field notes, design annuals, conferences, books on tape, or going to concerts and emailing yourself? I’ve taken to that last one, which has produced some interesting results. Whatever works for you, keep at it. Repeat it, adjust as needed. It is super important to recognize what naturally keeps your brain moving. Once recognized, do your best to get there regularly as a part of your ever-evolving design practice.
An answer to the ‘how much does it cost’ question
Similar to Standard Turnarounds, when it comes to how long something takes, a designer also needs to know how much something costs. Before doing any formal estimating, you have to know what the ballpark is for what you do. For a logo, for a brand, for a website, for a poster, for an infographic; how much does it cost for you to do this project? The response should be stocked, prepped, ready to go. It can have layers if that’s helpful, but if there isn’t a standard cost, it kinda seems like you don’t really know what you’re doing. Sure, there’s always follow-up and ironing it out, but some context is needed for a potential client.
A new potential client inquires about a website, I’ll tell him or her how much we charge for the type of websites we design. A site could be designed and developed for less, but it won’t be as good or unique. It could also be designed and developed for more, but it probably has more features than we think are needed.
This isn’t the same for bigger, more complicated projects. Those need the formal estimating process, which can be quite thorough and take time. But there are those projects that can remain standard, and standard costs should definitely be applied.
Know Your Limit
I average about 55 hours of work per week. I have for the last few years. That includes client work but also administrative tasks, collaborative projects, writing, and self-promotion. It involves this business of design. And it’s all tracked. I really enjoy the work, most of the time. But the idea of working more than that seems absurd. Weeks clocking 80 or even 100 hours. How? There’s no way. 65 is pretty much my limit. And my goal, ultimately, is 30. A super productive, creative, moving-the-needle 30. For now I’m going to try to get my average down to 45 starting in Q4. We’ll see how it goes. I’ll keep you posted.
