getting the ears lowered
How graphic design is like getting a haircut (in a weird, client kind of way)
Now, I have been thinking about this for quite a while now and I have come to a decision. In terms of clients and designers—one going to the other for business, or whatever it may be—Graphic Design is like getting a haircut.
Now stop circling your finger around your ear or strumming your lips while making a noise—I'm not crazy—just entertain me for a few minutes.
As strange as this analogy may seem, in my own strange way of thinking, there are some points that I thought I might share with the curious reader that you are. The way I see it is that people who go for their hair cutting—in fact lets stop there for just a second (I promise this wont take long).
Firstly, everyone on the planet gets their hair cut at some point—surely. I mean please let me know if I'm wrong, but at some point in someone's life they change their hair, right? Secondly, although I'm going on to analyse it in a way that it seems that everyone gets their hair cut professionally—I know this not to be true, some get their girlfriends or boyfriends to do it, or their mates—some do it themselves! But, as I said (just above that last paragraph) entertain me for a moment.
Anyone who pays for a professional service is a client, this extends to both design and hairdressing, whether going to the 50p-shaved-back-and-sides-barbers or paying top notch for Nicky Clarke himself to get out the snips. Design is the same: you can pay, the sometimes large fee, for a job from top agencies (like The Chase—had to get a plug somewhere: pay rise boss?) or some one-man-band freelancer working out of the garden shed. This, it's true to say, applies for many things and not just design so on with the notion: the clientèle.
You get the same clients paying for design as those who pay for their hair cutting. These boil down to three main character traits: the good, the bad and the unsure.
The Good,
Big hint in the name there. These are obviously the ones that the majority of designers want to work for. I think I'll start with a little role play.
A guy (or girl: I'm not sexist) walks into a hairdressers (barbers, salon—whatever you want to call them) and sits on the chair. "So then sir, how would you like your haircut?" says a polite woman (see I told you I wasn't sexist) armed with the hairdressing equivalent of batman's utility belt. After a moment of the urm, gee, ooo, ahh's, he replies "I'll tell you what. I know I need a haircut. This toupee of mine is out of control and seeing as you're the specialist: you know what you're doing far better than I. So, do what you must, what is right and what is new and innovative. I trust your judgment."
Who speaks like that? I know. But I'm just trying to make a point here.
Now far fetched I know, but they do exist. The Good trust you because you know what you're doing and they let you have that creative freedom.
Another line to be drawn in similarity here is money. I don't know about you, as you might not know a hair model, but most hair models get their stylish and cutting edge* haircuts free or at a reduced rate. Is the flag of comparison waving yet? We're all familiar with the 'good job, shit money' story. So anyway, that's The Good.
The Bad.
Again, the clue's in the name. These fellows are obviously the ones that the majority of designers don't want to work for, but they are the bread and butter.
These folk know what they want, how they want it and no matter what you advise will say "well I know what you mean but, let's have it how I said". Many arguments and creative hissy's are thrown in this relationship, so I thought I would give you an example (I've put the graphic design translation in brackets like this);
Enter Client
CLIENT: Good morning (afternoon or evening—your preference) I would like a haircut please
STYLIST: How would you like it?
Client proceeds to reel off a list of demands such as size, colour, this, that and the other.
CLIENT: Now don't take too much off. I only want 3/4 inch off (Make the logo bigger). I want this colour highlight (Can we have the logo in blue). I rather like the style of David Beckham (I want an equivalent of the Nike swoosh).
STYLIST:Now, I am more than happy to try that for you, but I have some ideas that I'd like to try and see how you like them (I know what you want but I'm certain you'll like these better).
Intermission
STYLIST: Now don't you think that this would suit you? (please, just see how great this will be for you).
CLIENT: I like it, it's really nice but I think we will go for this one.
CLIENT points to original idea.
These fellows, as harsh as their name and the journey may be, provide you with opportunity and what should be seen as a challenge. You can still do good—but well paid—work for people who have their own opinions of design and know what they want. But, if all else fails, think about the money.
and last but not least, The Unsure;
These are the people that need a haircut and don't know what they want you to do: they just know that they need one. Through endless negotiation and compromises—what started as a optimistic and general good opportunity to create a great new look, becomes a shadow of its former self. The whole experience turns into a big exercise in democracy that usually benefits as much as it hinders. You end up with a haircut (design) that would have been great but is now just good and they end up with a new look (whatever it fruits as) that they can say "yeah, I chose that one."
These guys you might find are the hardest to work with. Not as much anger as The Bad, but worse in the fact that it can sometimes end up in design by committee and you are more frustrated than ever by the way the whole experience leads you.
And now, just before the wind up (or the conclusion as my old English teacher Mr. Hardaker put it) I have a couple other things to say.
Money is of course a factor in this and by no means am I trying to over look this. The price for a service can often be a deciding factor in the employment of it. God knows how many times I've looked at a price list blue-tacked in a window and said to myself "I'm not paying that much just for a haircut" and again this comes down to where you place your importance or value on the service.
Some pay because they require the service and know it to be worth its tag. Some negotiate. Some say "fuck off I can get it cheaper from the one-man-band freelancer working alone in his garden shed". But a similarity is present between the two industries.
Another similarity is the experience.
No matter which client you may have, a good one, a bad one or an unsure one, if you make the experience worthwhile and a pleasurable one i.e. you both learn from it or you create a relationship, then the same factor in hairdressing will apply to the design business: you will go back to the same place the next time you need the ears lowering or your kerning tightening.
If you have read all this article and are in agreement with me then great, but if you are not seeing eye to eye with me then here's my attempt to win you back. I have learned a lot in my short but colourful life in the industry but as much as I'm helped by what I've learned, I am hindered by what I haven't.
For Christ's sake I'm still a junior. What do I know about clients?
Have your say at mytwopenneth@craigoldham.co.uk
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*Bad pun I know, but it reminded me of all those cliché names you get for hairdressers and salons like razors edge, cut above, cutting it and (my all time favourites from a web trawl—thank you Mr. Google) Curl up and Dye, Shear Fantasy, Final Cut and The Chop Shop. What's that book with all the dodgy shop names? I'll post it up here when I remember it.
Ah Ha! Found it. Its called Shop Horror and it's by Guy Swillingham—have a look, I bet you will be sliding down the wall laughing at some of these.
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