Recently at Mark Boulton Design, we’ve been working on a redesign of the global visual language for a large sports network. Like many web sites delivering news and editorial content, they rely on advertising for their revenue — either through multiple ad slots on the page, or from video pre-rolls.
Early on in the project, we discussed Responsive Web Design at length. From an editorial and product perspective, it makes perfect sense. Who wouldn’t want their content adapting to a device their reading it on? Who wants to pinch-zoom again and again? From a business and product perspective, we’ve seen this from multiple clients who want to take advantage of certain interactions on certain devices — swiping for example — for users to better engage with the content in a more native way. All good. And then advertising comes along and things get challenging.
Here’s the problem as I see it:
Let me go through each one of these in turn:
A large number of sites rely on advertising for revenue. Many of those sites will benefit from a Responsive Web Design approach.
The content for free expectation on the web has been around since it started. Many websites — where you pay for the content in other forms, such as newspapers — had to adopt this model, but use advertising dollars to pay for it. With the absence of any other revenue stream on these sites, the only other alternative is paywalls/subscriptions, and we’re seeing a few of these start to come through in mainstream newspapers now — The Times, for example.
As I mentioned earlier, many of these websites will benefit from a responsive web design approach. The consumption of this content has changed along with the plethora of devices and viewports. As I’ve talked about before, designing a ‘best fit page’ is becoming increasingly challenging if you acknowledge how usage has changed and will continue to change in the coming years.
Web advertising is a whole other industry.
There are sub-industries within web design as a whole that generally don’t talk to each other — such as gaming, gambling, porn, seo. Web advertising is another. These sub-sets each produce technology advances that everyone else benefits from. They deeply understand their audiences and how they interact within those verticals. But they don’t talk. Generally. For an industry that is built upon open standards, sharing, communication then this can be damaging.
Ad units are fixed, standardised sizes.
Hurray for standards! Because of the inherent reuse of advertising colatoral, this stuff had to be standardised. The Internet Advertising Bureau has been documenting emerging standards in web advertising for years now.
This is all good, especially for creating grid systems. Khoi Vinh talked about deriving a grid from an ad unit (PDF slides) when I shared a stage with him in SXSW in 2007. They are a fixed content element — unchangeable and standardised across a website. They’re knowable.
They are commissioned, sold and created on the basis of their size and position on the page.
This is perhaps the biggest issue for me. For example, a sales teams basically have a page ‘template’ with ad slots. Position A, B and C. In A, you can fit a Leaderboard. In B an MMU, and C a button. Also, if an advertiser pays lots of money, they can have a takeover. A takeover includes banners down either side of the page which join up to create a wrapper. Sometimes Leaderboards in position A can be pop-overs or flyouts. Sometimes, crazy stuff can happen where someone throws a ball from ad position B to A. Yes. Seriously.
The sales team then proceeds in selling the slots to advertisers who in turn provide the ‘creative’. This could be animation, video, graphics - increasingly a combination of all three - that are embedded in the page by a scheduling application. They’re sold based on the impressions rather than clicks.
That’s a lot of variables to account for. But, web advertising is becoming an increasingly aggressive industry. Advertisers and web sites are looking to innovate to engage users through marketing campaigns that align across multiple media. And web sites need to be accommodating.
Sales teams through many industries are also largely commission-based. As a sales person, you have a basic salary (or sometimes you don’t), and then you earn more depending on what you sell in the month. And here’s the thing. A sales team need a simple model in order to sell ads: a template with slots and a list of ads that can go in then. Now, let’s introduce Responsive Web Design into this.
Let’s say, you have the minimum amount of break-points: desktop, tablet and small screen. A sales team has a template with Slot A (the primary slot) that accommodates a Leaderboard for the desktop. But then that changes to a MMU for tablet. And changes again to a thin banner for small screen. A sales person has to understand they’re selling ONE slot for this. And an advertiser has to understand they’re paying for ONE slot for this. However, they’re supplying three times the amount of creative. And this is just a very simple use case. What happens with a takeover? Everyone wants as much bang for their buck as they can muster.
Many ads are rich (including takeovers, video, pop-overs, flyouts and interactions)
Increasingly, ad units are not confined by their pixel borders. Take-overs combine multiple ad units to give an overall effect of taking over the page. Flyouts show and hide a layer on hover. Pop-over do the same but in a different way. Video autoplays. Animation completely breaks out of the ad unit and can fly around the screen: how ever annoying that might be. My point is that the notion of advertising being confined by their pixels is also becoming increasingly grey. How would you accommodate a flyout for a small screen, for example? Another type of flyout for each breakpoint? So now the advertiser has to produce three times the amount of complex creative for the same, single ad slot? In order to make this commercially viable, they’d be looking for a deal then.
Those are some of the practical logistical things I can think of to challenge the notion that you can just ‘serve a different ad for each break point’. It’s just not that simple when millions of dollars are at stake.
So what can we do to improve this?
Well, some responsive sites are incorporating ad units now. But not many.
Boston Globe has incorporated an MMU ad unit. They’ve done this by fixing the width of that column and have the ad unit occupy that space as the viewport is reduced down to a single column.
The good news is, this is a problem a few in the industry are seeing as an opportunity. ADO published a press release just last week:
to deliver cross-media web innovation, user experience design and integrated advertising for brand, agency and publisher clients specifically around mobile full-service responsive web design.
Matthew Snyder, CEO of ADObjects adds:
We wanted to share our vision on 11.11.11 since we believe a critical part of the right digital strategy is to build a cross-media mobile strategy with complete 1-to-1 parity multi-screen design. With one recent client we were able to see 4x more traffic and 30% of the traffic to mobile via responsive design methods due to search and social link matching over conventional mobile web platforms
If these numbers are to be believed, then there is a considerable ROI for advertisers to work to adopt responsive design and an ad strategy that would match.
Now, let’s get down to brass tacks. How would approach building out a complex responsive web site that had multiple slots?
The existing model is based on advertiser filling slots, as shown in this diagram. Each is sold to perfectly fit an available slot. If none are sold, the website defaults down to a stand-in.
Firstly, I’d sell slot ‘packages’ rather than single slots. This requires an ad sales team to clearly explain what those slots and sizes are, and they’d be served on that basis. For example, an advertiser would buy a package for slot A. The creative to deliver against that package would be a Leaderboard, an MMU and a small banner for small screen.
Then, of course, the templates need to be able to detect the various widths and serve the correct ad based on that width.
Complex ads such as flyouts and takeovers would require much more thought and change. How could you effectively engage with an audience across the various viewport sizes when there is rich interaction involved?
As I mentioned, of course all of this is with a caveat that the advertiser is buying a slot ‘package’, rather than a single ad to fill a single slot. And that a sales team would sell it as such. This is the crucial difference, and for me, the biggest barrier to this change - it’s cultural and not technical, that requires a lot of explaining, and they always take the longest to do.
The template > slot > ad mental model is engrained both in advertisers, planners and web sites. Providing space for ads needs to be broadened into multiple spaces for one ad concept. This requires closer collaboration between advertisers and web sites, designers and marketeers and sales teams.
Over the past six months I’ve been working on this problem: speaking to sales teams, product owners, designers and as @kerns mentioned on Twitter this morning, the one thing that is plainly lacking at the moment is demand. I’d go one step further and say that the thing that’s missing is benefit. If the benefit can be clearly shown to advertisers and websites — in terms of an increase in penetration, reach, and ultimately, revenue, then we’ll start to see some movement.
– November 15th, 2011
For quite a while now, I’ve been struggling with how to cope with everything on my plate at work. I run a small business, starting a new publishing business, I’m an art director, project manager, sales director. And so the list goes on. And I know I’m not alone, we’re all busy, right? We’re all pulled in every which way.
Thing is, I have a couple of designers and developers here who need my help every day. They need to run things by me, get feedback on work, resolve issues. And so the list goes on. What I was struggling with was the interruption to my flow. It meant that, quite often, I’d end a day feeling I hadn’t accomplished anything other than fight other people’s fires. Of course this is the wrong way to think about things, and I was actually doing my job by doing all that. But I still needed to apply more structure to this activity, so that I could have available time to spend on designing and all the other stuff.
So, a couple of weeks ago, Emma introduced the idea of a bi-daily 30 minute triage. This is time for everyone to have a bunch of things they want to go through with me. At 10am and 2pm everyday, I keep that time free and available for whoever needs me. And, so far, it’s working a treat.
There we have it: timeboxed triage. Give it a go.
– April 28th, 2010
Yesterday, a rather heated debate raged over on Carsonified’s blog regarding a design competition they’re running to design a slide for the upcoming Future of Web Design conference in London. The debate was an old one, resurrected every now and then and fiercely debated on both sides. The debate was regarding speculative work. It’s a subject I feel very passionate about as I’ve seen the damage it causes – both personal and professional.
I’m a little tired of justifying my position and opinions on Twitter, so I thought I’d pen a few thoughts here and explain my personal viewpoint and hopefully spark some considered, intelligent debate (see my paragraph citing Matt Henderson for an example of this).
I’m not going to spend a huge amount of time defining this here. I think most people understand what spec work is and why it’s damaging. Speculative work (or spec), can be defined by the AIGA as:
‘work done without compensation, for the client’s speculation’
Spec work, in my view, leads to a number of things:
If you’re in the UK, you probably know of Blue Peter. Blue Peter is a long-running childrens TV series that has been going for, oh I don’t know, maybe 500 years on the BBC. Up until recently, Blue Peter ran many, many design competitions for children across the UK to enter. Kids would send in drawings of their wild and wonderful designs for all many of things. Now, is this spec work? Is it unethical? No, I don’t think so.
Children aren’t designers. It’s not their profession, and they’re not submitting professional work.
There was a great comment on the thread yesterday regarding Threadless. People submit designs to threadless, get paid if their design is picked, and get the glory of seeing it printed on t-shirts. Is this spec work? Even though Threadless are making money from this? No, I don’t think it is.
Designers and Illustrators want to be part of the Threadless brand. They have a lot of pull, so much so that professionals are willing to contribute to that brand. In the same way that if Apple were to do something similar, I’m sure many people (probably myself included) would contribute. Wanting to contribute to something you feel part of, or want to be part of, even if money is being made as a result is not spec work. It’s about wanting to belong.
Personally, I see a competition that targets a profession and solicits entries for a prize as exploitative and professionally unethical. For some, it may just be a bit of fun, but for me, it’s pretty reprehensible. I feel rather strongly about it.
I’ve worked in two industries where spec work is the norm: advertising and print design, and I’ve a close relationship with another: architecture.
I used to work for a reasonably sized design agency. We would spend maybe 30% of our time on unpaid, creative pitch work. We would also spend perhaps 10% of our time on design competitions, which I believe is spec work. That’s right, 40% of our time was spent working for the potential of winning one project that would pay for all of that speculative time. Now, if you’re starting out in business, or feeling the pinch as many companies are during these difficult times, your time, and the way you spend it, becomes critical. If 40% is spent doing stuff your not paid for that is potentially damaging.
The practice of spec work is the industry norm in architecture.
My father’s an architect. He runs a small practice and spends an extraordinary amount of time producing spec work. Unfortunately, the industry demands it. The spec work is conducted on the hope that one of the projects will be awarded to the practice and that will pay for the time lost on the other projects. Architecture is also an industry that is rife with design competitions. Some would argue that this is worse than spec work to a shortlisted field. Architects are invited to submit bids, proposals and designs for prestigious competitions. The winner gets the contract and the glory. The losers get nothing; the work is conducted speculatively.
I believe the practice of spec work harms business. It can be crippling, for both suppliers and consumers. Businesses fold, and consumers get sub-standard work.
In amongst the usual trolling on Ryan’s blog, I had a very interesting discussion with Matt Henderson regarding spec work. Matt is a guy I admire tremendously. I’ve worked with him in the past out of his Marbella office on some fascinating projects and he’s a smart bloke.
Matt’s take on spec work, if I understood this correctly, was that the market will dictate the practice. If both sides of the market – the supplier (the designers), and the consumer (the client) – find that speculative work is mutually beneficial, then the practice would become an industry norm. This view sidelines personal opinion, and presents spec work as a consequence of market conditions, which is fine, it is. But does that mean that the creative profession should shrug their shoulders and accept it as such despite ethical misgivings?
For the record, Ryan is a good guy. My intention wasn’t to target Ryan personally, or to claim that Carsonified was unethical, they’re not. He doesn’t deserve the lambasting he receives on his blog for genuinely trying to do the right thing; for doing something he believes in. But all of those designers who commented on that growing thread were also doing that – commenting on an issue they believe in. The debate wasn’t personal, or unprofessional, it was a raw nerve.
I’m hoping this post sheds some more light beyond 140 characters on my own personal relationship with spec work and how I’ve seen first hand the damage it causes. I for one welcome an industry that debates these issues. An industry where you’re free to make a mistake, to openly question motivations and to do something you believe in. As Matt said, ‘let the market run its course’, but if you don’t agree with where it’s headed, push back and fight for what you believe in.
– March 26th, 2009
A day or so ago, the small design studio I run, Mark Boulton Design, was announced as the redesign partner for the redesign of drupal.org. Together with the outstandingly talented Leisa Reichelt and Carolyn Wood, the team at Mark Boulton Design are thrilled to part of this project. More details on the studio site.
Leisa and I will be out in Szeged, Hungary, for the biannual Drupalcon during the week of the 25th August, where we will be giving a keynote presentation on Thursday 28th. If you’re there, tap me on the shoulder and say hi.
– August 15th, 2008
This article was published in .Net magazine before Christmas last year. I was asked to write a small article on making the leap to working for yourself (as it was still fresh in my mind). It’s by no means a definitive guide (for example, there is no mention of the legal aspects of setting up and running a company). It’s also aimed at a UK market, but a lot of this will work no-matter what country you’re in. Most of it is actually just common sense.
It’s been eighteen months since I went freelance, and almost six months since starting my small design studio. I’m no expert. So, this article documents what I did, and when. It also features a little interview with our very own Colly.
[Article originally published in .Net magazine in November 2007]
So you want to work for yourself? And why not. You can dictate your own hours, have the freedom to take time off when you want it without getting into trouble from the boss; you can do what you want to do, when you want to do it. At least, that’s what I thought when I started working for myself a year ago. I couldn’t have been more wrong.
The freedom of being in control is terrifying. The pressure of knowing it really is down to you whether you succeed or fail can weight heavy.
Where I live, in Wales, almost 400 people a week start their own business. Everybody is different and end up giving it a go for a variety of reasons. However, most of these people share common ground. Things that they need to think about when planning to go it alone.
As I said, I’ve only been my own boss for a year now, so I wouldn’t call myself an expert on this. I can however tell you my story, and the mistakes I made along the way.
Starting a business is one of the most challenging, but rewarding, things you can do. The reason most people never end up doing it—although I’m sure many would love to—is because they think it takes luck, a clever idea or just knowing the right people. That’s not true. It’s about you.
Maybe you have a great idea that you just can’t keep a secret anymore. Maybe a colleague has approached you to setup business with them on the back of a contract they’ve just secured. Maybe you just hate your job and wish you were your own boss. The catalyst is different for everyone.
For many people, including myself, they’ve found their career take a certain path where self-employment is the next natural progression. I was working full-time at the BBC as a designer when my enquiries to do freelance work reached such a peak that I was doing two jobs. At that point, one of them had to go before my wife did!
Whatever the reason to set up business, it’s a personal one that only you can make.
A Business Plan is just that; a plan about your business. It’s used to look ahead, allocate resources, focus on key points, and prepare for problems and opportunities. It doesn’t need to be a scary document that you take months to write. However, some banks, investors, or other funding bodies will insist on a well-written, concise Business Plan on which to base their decisions, so in that sense, it’s a very important document.
A standard business plan will contain the following:
Make no mistake, writing a business plan can be a daunting prospect, but it doesn’t have to be great the first time around. A business plan should be revised throughout the business’ lifetime - it’s not just for startup businesses. I’ve just gone through my third draft in my first year of business.
As usual, the web has some great resources to offer. The BBC has a good overview of ‘How to Write a Business Plan’ (http://news.bbc.co.uk/1/hi/business/2943252.stm).
This is perhaps the most important step in setting up your own business. You will realise you can’t do it on your own. You will need good advice from the following people:
Out of all of these, I’d advise you spend the most time trying to find a really, really good accountant. Many businesses owners will tell you that a good one is worth their weight in gold. In addition to the usual accounts stuff they can give you invaluable advice.
A great source of business advice for England and Wales is the Business Link website. (http://www.businesslink.gov.uk) Here, you can find information on starting up and funding options, to Health and Safety and employing people.
To register as self-employed in the UK, you have to register with the Inland Revenue as one of several company types:
Being a sole trader is the easiest way to run a business, and does not involve paying any registration fees. The downsides are you are personally liable for any debts that your business incures and, if you do well, you could be paying high income tax.
A partnership is like two or more Sole Traders working together. You share the profits, but also the debt.
An LLP is similar to a Partnership. The only difference is the liability, or debt for example, is limited to investment in the company.
Limited companies are separate legal entities. This means the company’s finances are separate from the personal finances of their owners.
A franchise is like a license to an existing successful business.
This one probably doesn’t apply to web development. According to Business Link, Social enterprises are ‘… businesses distinguished by their social aims. There are many different types of social enterprises, including community development trusts, housing associations, worker-owned co-operatives and leisure centres.’
This is something you must do in order to pay your taxes. Speak to your accountant about which will suit your needs better.
Before I made the leap into full-time self-employment, I read a lot of articles which said I’d need six months salary in the bank before I went out on my own. Although that is good advice, depending on your salary, that is quite a hefty chunk of cash that will be hard to save.
Like most people, I didn’t have that sort of money knocking about so I had to have a close look at cash flow over the first few months of business to ensure I could pay myself. This cash came from several sources.
Cash Flow is the life blood of your new company. It’s the ebb and flow of cash coming in and going out. The aim is to have a positive cash flow, so there is more cash coming in than there is going out once you deduct all your overheads.
You will also need to forecast your cash flow. This is still one of the most sobering things I have to do regularly because is clear shows the current state of your business. Every month I review my cash flow and I forecast for three months, and for six. I make a list of all the invoices which need to be sent in those two time periods and make sure I’m hitting my monthly and quarterly cash flow targets. Like I say, it can be scary at times.
There are two types of tax: Income Tax and Corporation Tax. For Sole Traders, Partnerships and LLP’s, you will be charged income tax on your profits. That’s important, so I’ll say it again. You’ll only be taxed on your profits. Things like equipment costs, rent, phone and other office expenses are deducted from this.
Limited companies are charged Corporation Tax on their profits. The employees of that company are charged income tax on their income. As with a Sole Trader etc. Limited companies are only taxed on their profits.
If your business earns £64,000 or over in a financial year, you have to register for VAT. If you think you might hit that target during the year, you can voluntarily register before hand.
Being VAT registered means you have to charge your customers for VAT on top of your services. Currently in the UK, VAT is 17.5%. You’re in effect collecting taxes for your government. Nice aren’t you? One of the advantages of being VAT registered is that you can claim VAT back of purchases for your business. Say you bought a new computer, you could claim the VAT back from that purchase.
All this VAT gets added up and you have to pay the government every quarter.
For more information of your obligations as a business to pay your taxes, go to the Inland Revenue website. There are some great tools on here to help you - you can even file your taxe return online.
Prior to starting my own business, I worked full time. As a designer, or developer, you will probably get enquiries to do freelance work in your spare time. This is the time to start building up your customer base whilst you still have the security of a full-time job. Sure, it means burning the candle at both ends, but it does ensure a smoother transition from employed to self-employed.
A good way to drum up business is to network. This can be done traditionally, such as Business Club lunches and events organised by your local authority. One of the most effective ways of getting your face known is by attending the many web conferences, workshops and meetups going on throughout the country. From Pub Standards and the Oxford Geek Nightsto the larger conferences such as @Media and dConstruct. They all provide a great platform to meet people in the industry who may require your services.
If you’re a design studio who designs websites but has a strong focus on User Experience design, then write a company blog about that subject. If you write interesting content, and give it away free, then traffic to the site will increase as will your page rank in Google. This means that if a potential client searches for User Experience, they will get your site in their search results and there is a clear path into your site from some quality content.
Giving a little quality content away for nothing may make the difference in landing that big next project.
If you’re employed, but planning to go freelance, then keep your day job for a while. Get work in to work in your spare time, but use the cash that generates as a buffer for when you do go it alone. Make sure the two worlds don’t collide though. Keep your boss happy in work, but now is the time to be a bit of a jobsworth. Get in on time, leave on time, take an hour for lunch - do everything you can to maximise the time you have available to work on the freelance projects.
Working two jobs is hard, and you won’t be able to keep it up for long. This stage in starting up your business is perhaps one of the most difficult. The aim is to ensure a smooth transition from being employed to self-employed. You will need some cash in the bank, a few contracts for your first couple of months of being on your own. The hard thing is keeping you current boss happy in the process. It’s not easy.
There are a number of great job boards which advertise design and development projects regularly. The two I’ve used successfully in the past to drum up some business are the 37Signals Job Board, and Cameron Moll’s Authentic Jobs.
Forcasting business can be quite difficult. How does cash flow look in three months time? Are you saving enough money for the end of year tax bill? To succeed in business I think you need one eye on the present and one eye fixed firmly in the future. The short-term future. Whilst it’s great to have dreams and aspirations for your new business, that shouldn’t be at the expense of ensuring you have enough work coming in over the next six months.
Remember if you’re a designer or developer, you’re providing a service. We’re in a service industry and with that comes Customer Service. I know it may sound a bit trite, but treat clients as you would like to be treated. Treat them with respect and never lose sight of that fact that they are paying the bills.
Making a leap of faith is the first step to starting a business. However, for your business to grow and flourish, you will need much more than faith. First off, you must have upmost confidence in your ability to make it work. You need to be aware of the risks, but not scared to death by them. You’ll need to have good organisational skills, flexibility and a high degree of commitment. Most of all, you need to have fun and love what you do.
[The following is an interview conducted in Nov 2007]
After four happy and successful years with another great agency, I did start to dream about being in control. I’d sometimes receive offers to work for other people, but nothing ever grabbed me. I’d get a few people emailing me every week with requests for websites, and I grew in confidence, realising that I could actually earn enough money to survive. Generally, I just wanted to nitpick clients and decide who to work with on projects.
The autonomy. I love making my own decisions and being in total control of the direction in which we are heading, the clients we choose to work with, and being able to handpick colleagues!
Hmm, lots. The hours (I did over 100 hours last week). In general, it can take over your life if you want to produce quality work with no cutting of corners. Sacrifices are inevitable – everything from working the majority of evenings and weekends to missing your best friend’s birthday. If there is an immovable deadline and the work needs doing, the buck stops with you, and no excuses are good enough.
Perhaps the biggest shock to the system is the unavoidable responsibility for ensuring that cash flow is steady and that we have enough money coming in to pay the wages, cover office rent and general overheads.
Just three? OK. One. Achieve a work/life balance and stick to it as best you can. Ultimately though, except for crisis stuff, you’ll end up putting work first, so be prepared for that.
Two. Trust yourself. You will make mistakes, but generally the decision to work for yourself won’t be one of them. Have the courage of your own convictions and just go for it! You will know when you are ready and have enough work or contacts to ensure you break even and can pay yourself.
Three. Realise that you are not an expert at everything, so get people to help you. Get business advice, get to know your bank manager, and use an accountant. When you are seriously busy, the last thing you’ll want to be doing is invoicing, or doing anything at all in Excel.
Under-charging in the first few months. The temptation from day one is to bring the work in and build up a client list. This kind of thing will not wreck your business, as you’ll simply put the extra hours in, but it is seriously detrimental to your health and lifestyle, and even the quality of the work you produce.
Thriving – you gotta be confident, right? We’re lucky in that word of mouth and recommendations bring the work to us. We don’t take this for granted and never will, but the hard work in our first year is paying off, and we now have a solid foundation to build upon.
I never dreamed there’d be five of us within a year, and we hope to grow to about ten soldiers in the next 24 months. When you work this hard, you have to remember to be proud and enjoy what you do.
[Finally, rounding off with a couple of boxouts from the article]
6 Months to go—Start building a customer base. Trawl the freelance websites (job boards - authentic jobs etc) and get yourself a few freelance gigs. Register your business with the Inland Revenue. (see section on deciding what business you should be). I’m afraid for the next six months, you’ll be working two jobs. If you can get funding for your venture, start researching what you can get and when.
5 Months to go—Continue to get those freelance gigs in. Begin to research a good local accountant. Book an appointment with several banks - you’ll need to get a business bank account - but it’s worth shopping around. Have meetings to discuss funding opportunities.
4 Months to go—Found a good accountant? Right, you need to have a meeting with him/her regarding your new venture. Finalise your bank account with your chosen bank. Continue to build up your customer base. Now is the time to speak with some local companies to see if they need freelance help. Are you going to be working from home? If not, you need to start looking for somewhere to work from.
3 Months to go—You should be getting some money in from your freelance gigs by now. Save it—you might need it in a few months.
2 Months to go—You should be working like a dog now and really looking forward to working for yourself. At this stage, everything should pretty much be in place for you to make that smooth transition from employed to self-employed.
1 Month to go—Hand in your resignation. If possible, try and get some work booked in for the first three months of being on your own. Make sure you also get paid by these clients monthly so cashflow isn’t an issue.
Before I set up business, I’d read a fair few ‘how to’ books and a number of blogs that talked about the many roles you would have to adopt whilst running your new business. I still struggle with it. On a typical day I am a designer, a project manager, a salesman and a book-keeper. Each role requires a different mindset and it can be very difficult to switch between them.
Keep work and home separate. When you work at home, this can be difficult. When I had my workplace in my house, I made sure it was a completely different room which was furnished like an office—not just your spare room with a desk in it. One tip which worked for me: wear your shoes during the day, when you’re working, and at night, take them off. It’s a silly little thing, but you will soon associate shoes with work. So, when you take them off, that’s home time.
Be nice to people. Business doesn’t have to be unpleasant. Treat people how you expect to be treated. Be fair, professional and above all, polite.
This one is a killer. I still do it and probably will for many years to come. When you don’t have any work booked in in three months time, the tendency is to get more work in now with the hope that, financial, you’ll be more stable in the months you don’t have work. It makes sense, but you end up working too hard. As a result, quality dips, customers get a bad service and, over time, your business will dry up.
I’ve recently had this problem. I’ve been so busy recently that I needed help. After hiring someone, I realised I’d been in this position for too long. I needed help about three months before I thought I did.
Work out your costs on an hourly, or daily, basis and then add 30%. It covers costs and, until you get the hang of it, you’re probably under-charging anyway. I was.
Remember, you’re the expert. You’re not doing this job because you’re average at it. If a customer wants to buy your product, or hire you, it’s because you’re good at what you do.
If you’re a web designer or developer, unless you’re producing and selling a product, you will be providing a service. With a service comes Customer Service and, yes, customers are always right.
I was using a homemade system coupled with an Excel spreadsheet for my accounting needs. As the business grew, I needed something a little robust. I wish I’d learnt Sage or something sooner because now I don’t really have the time.
I have three to-do lists. A Month list, a Three Month and a Six Month. Each list has a bunch of things I need to do for that time period. This allows me to have short, mid and long term goals. I class Six Month as long term here as, in this industry, I believe you need to be adaptable and can’t really plan for more than six months in advance.
As I said, this is just the way I set things up, and some of the many thoughts and conclusions that I came to over the past couple of years of running my own business. Hope it may help some of you thinking of taking the plunge.
– February 20th, 2008
It’s been a good while since I’ve talked about any work Mark Boulton Design has been up to. That’s mostly because the projects we’ve been working on have been under wraps. Until now that is. One project is now live, the other coming very, very soon.
Fanzter, Inc hired Mark Boulton Design last year to design their new web application, Coolspotters. Coolspotters is a consumer-focussed site that
offers an experience that could shift the way people discover great products.
The design challenge was considerable—from the branding to designing the UX. We worked closely with Fanzter, drawing on our experience with working client-side, to hone the product over many iterations. I don’t mind saying, the result of this close collaboration is fantastic. But, you may have to wait a few weeks before getting to grips with the site as Fanzter are opening it up for beta applications now, before launching proper shortly.
Garcia Media is one of the world’s leading news design studios. Designing publications such as The Wall Street Journal, The Miami Herald, Die Zeit and small community papers, they have unparalleled experience and an industry reputation to boot.
I had the pleasure of working with Dan and Alex Rubin on the design, as well as the in-house team at Garcia Media. Mario Garcia, Jr. has penned a blog post on the site that explains the background, design and implementation much better than I ever could.
We’re thrilled to be working on some incredibly exciting projects at the moment—from FTSE 100 corporate redesigns and web applications for TV networks. Through to small, simple websites for companies with a great idea. In addition to the web work, there are a few exciting things happening behind the scenes at Mark Boulton Design that hopefully I’ll be able to talk about really soon.
So, I’ve talked about my work. How about you talk about yours? What have you been up to? I’d love to hear. Feel free to link it up (although not too many as EE will spit your comment back at you!)
– January 19th, 2008
When I worked at the BBC, I participated in a workshop where the entire department went through a Myers-Briggs Personality questionnaire. I think the aim of the workshop was for all of us to understand, to some degree, the personality traits of our colleagues.
The Myers-Briggs test was originally devised in the Second World War by Katharine Cook Briggs and her daughter, Isabel Briggs Myers. The form of the test I participated in was a very long questionnaire which, when analysed, highlighted your personal preferences. That’s a very important aspect of the results—they describe what you prefer to do, not what you do all the time.
I was sceptical at first, but after completing the test, and the following workshops, i’ve had some fantastic insights into my own preferences—particularly when carrying out my job day to day.
The four pairs of preferences or dichotomies in the Myers-Briggs test:
Combinations of these preferences build to give you a set of traits, eg. ISTJ: Introverted, Sensing, Thinking, Judging or ENFP: Extraverted, iNtuition, Feeling, Perceiving.
At this stage of the workshop, in all honestly, I felt I was having my palm read—I really didn’t buy it. It was only discussing it in detail with the Wife (who has a degree in Psychology), that I began to understand my new pigeon-hole.
Some of the biggest conflicts, especially in the workplace, are when two opposing personalities (whose preferences are opposites) fail to understand the way the other prefers to work. This, for me, was the value of doing this test openly in the workplace. I knew what my preferences to working were, but I wasn’t aware of other peoples and therefore couldn’t put myself in their shoes.
It turns out, I prefer to work in a Think Do Think way. For example, I get a brief and I go away and Think about it. I’ll then Do something on it, then go away and Think some more. My preference is to think about it first. Other people have an opposing preference though—Do Think Do. These are the people who I find it very difficult to work with, simply because they work in a completely opposite way to me. You know the type (maybe you’re one). You solve problems as you talk about them. You Brain-Dump. You thrive on brainstorming. You instantly get a plan together and know where you’re going. You then validate that direction by thinking about it for a while. And so it goes on.
At Mark Boulton Design, as I have done throughout my career, I’ve made a point of trying to get the brief in early. As soon as possible actually. Quite often the client will want me to act upon that brief right away. I prefer not to. I’ll sit on it and think about it for a while.
When it comes to actually doing the work—from brainstorming or discovery, to designing the UI or layout—I’m already in a more informed position. I will have questions, and answers. I will, hopefully, have a good grasp of the problem. Quite often though, this has all happened on a subconscious level. I will have been stewing it over during those quiet moments in the day.
This working practice works very well for me. However, quite often, it goes against working practice of clients and colleagues who want results right away.
TypeLogic have a few links off to online tests. If you’re currently having conflict with some colleagues, or a particularly difficult client, then have a go at this test. It may not tell you about them, but it may well give you enough insight into your own preferences which could help the situation.
If you do, or have done the test before, I’d be interested in knowing what you thought of it.
– August 25th, 2007
If anyone has done any work for themselves—painted a painting; made a model; built a shed— you will know how difficult it is to finally stop. It’s about the love you see. The craft. Anything done for yourself has to be just right.
In April of this year, I became the Director of my new design consultancy, Mark Boulton Design Ltd. Since then, I’ve been beavering away to get a website up to let the world know what it is we do and who we’ve done it for (so far). Today Mark Boulton Design launches.
The Mark Boulton Design website had to tell the right story. What are we? What do we do? For who? This is all pretty basic marketing and, as designers, we go through these sorts of questions regularly. From those answers, we have to derive a brand. That was a very difficult nut to crack for this website.
If you’re aware of my work—both my writing and my design work—then you’ll know I’m all about the simple things. Simple really doesn’t come easy though; like good tea, it has to be stewed for a while. The design for this site was stewing away for about six months. Most of that was getting the brand right—the tone of voice, the typography, the colour. All of it took bloody ages.
The branding for this project has been applied to a number of things. First off, there is the site. Secondly, there’s the One Page Brochure (available on all pages in the four column footer); a one-page printable PDF document to leave on peoples desks. Then, there’s the RFP project sheet. On top of all of that, I’ve designed new business stationery (and had a ball looking at literally hundreds of paper samples). Quite a lot really.
When I was in secondary school (about 14 years old), my art teacher would always tell me that I still had work to do on a drawing or painting. It drove me nuts. Every time I thought I’d finish, he’d tell me to go away and work on it for another week. Designing for the web is no different. In fact, this is one of the great things that differenciates the web from other media such as TV or print; it’s a canvas to be worked on again and again.
There’s a load of work still to do on the typography. I want to get the vertical rhythm nailed. I want to get some print style sheets done. I decided today that all of that will have to wait.
Anyway. It’s done. Although my art teacher would probably have asked me to keep going. (note. this is my little ‘it’s not finished quite yet’ disclaimer)
– July 4th, 2007
“Get out of the house as soon as you can afford it” would rattle around my head like some crazy mantra. Andy’s point was, sooner or later the two environments would merge; home and work. You’d end up doing the laundry whilst at work, and designing when you’re supposed to be enjoying a nice evening with your wife. He wasn’t wrong.
As of last week, Mark Boulton Design Ltd. has a new home.
The new office occupies two rooms on the top floor of an old dock offices building in Sunny Cardiff Bay. For those of you who have watched the apalling Torchwood, the office is just around the corner from the secret exit/entry point near the funny fountain, mirrored sculpture thingy. For those who are familiar with Cardiff, I’m just around the corner from the Oval Basin, the Millennium Centre and the new Senedd (the Welsh Assembly Government building). It’s a nice place to be, especially in summer.
Back to the half-hour commute and having to make sandwiches (when I remember). I’m actually really enjoying it at the moment. The commute gives me a degree of separation which wasn’t there before and there’s a level of office banter which was all but absent when I worked at home (I don’t really count the Postman as a colleague).
To go with the new digs is a new business website (which has been on the go since SXSW in March) and I’m so looking forward to designing the letterhead and new biz cards. Print is really a treat sometimes. Like cooking, print design is nice to do occasionally, but if I had to do it for a living, it’d do my head in.
I said when I first started this ‘working for my self’ thing, I’d try and document every step. Well, as predicted, I haven’t. But this is a pretty big landmark for me and the business and I just wanted to put it down for the record so I can look back in a few years time.
– June 5th, 2007
Yep, that’s right. I’ve been neglecting my blogging duties for ages now. Not for a lack of things to talk about; there’s plenty, but it all seems to be going into the book at the moment. There is one thing that has been a blocking force though: running my own business.
At the start of this month, Mark Boulton Design Ltd. started trading. This switch from Sole Trader (then LLP, then back again) to Ltd. is for a number of reasons:
That right. Hopefully—all being well— - Mark Boulton Design Ltd. will be relocating to the hussle and bussle of media central in Cardiff: Cardiff Bay. (you know, where Torchwood is filmed). I’m not going to talk too much about it in case I jinx the whole deal but it could be very, very cool.
Why move? Working at home isn’t easy. In fact, it’s really tough. I remember talking with Andy Budd about this during @media last year. The distractions aren’t really the problem. The feeling you’re not escaping the same four walls is. Also, if we’re going to grow, there’s no room and I’m going to find it difficult to recruit full-time staff if I’m not located in the capital.
I know that book is late. I’ve not been neglecting it however, I was just very naive to think that it could be completed in a month or two. In fact, It has worked out rather well for one simple reason. The book will now be released under Mark Boulton Design Ltd. instead of me personally. I know that doesn’t make much difference to anyone who buys it, but it will mean that for every copy sold, the tax man will take £2 instead of £4.
Release date? Well, I’m not going to give a date. I have a date in my head though but I’ve learnt the lesson from last time. As I’ve told a few people now, it will be ready when it’s finished and not a moment later.
A couple of things to talk about tomorrow. There will be an update from Flow (with screenshots) and an article on Masthead design here at markboulton.co.uk. I’ve been thinking a lot about Mastheads recently for one reason and another, and I thought it would be prudent to document my thoughts on how masthead design fits in with grids, ratios and whitespace.
– April 12th, 2007
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