Metagraphics

We paint murals and make logos

Community

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Street Art Mural – Sunshine Coast

The Client: CV Global

CV comprises over 400 people across the globe. They are represented in more than 35 countries in the following seven regions; North America, Latin America, Europe, Africa, Asia Pacific, Commonwealth of Independent States (CIS), and the Middle East.

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The Brief: Street art murals for the Sunshine Coast office

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Recognising the global impact of rapid and significant developments in technology, CV has embraced these new opportunities and their potential to reach vast numbers of people.

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CV wanted 3 street art murals in their office to help reflect there core principles and inspire their team each day.

The Solution: Bold, Colourful and Networked

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Using our design process process Metagraphics developed used 3 big ideas as a starting point for each design. Each design was refined to achieve the desired effect.

  • Technology and Digital communication
  • Asia Pacific and it’s people
  • The lion of Judah and light in the darkness

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The amateur and the professional

I recently sent this to a friend inviting me to participate in an “art contest” in which there was no financial incentive but the end result would give an established business a new logo.

I always try to encourage artists to get some sort of pay or reward for their craft when  business is involved. Amateur means “unpaid”. I highly respect the amateur, when it comes to art, I am an amateur. I do the work for the love, if someone buys it it is a bonus but rare. When it comes to commercial art, I’m a professional.

The amateur works for the love of craft, a professional works for money. When an enterprise is receiving craft to decorate a product without handing over pay, I feel this is capitalism exploiting the craftsman. I sound like a commie-pinko-lefty!

I’m believe the arts need to be supported more, especially in Queensland. I’m passionate about this!

Substitute the idea of artists providing free work for a client with a plumber, doctor, psychologist or any other discipline and it become obvious that artists the situation is unusual.

My friend bought up the idea of contests.

Yes, artists pay to exhibit in a contest however for their money they usually receive:

  • promotion of their name within the industry gallery
  • the opportunity to network with industry peers and gatekeepers
  • the possibility of a three tiered financial reward
  • provide an opportunity for sales and exposure to an established sales list

I’m not a huge fan of contests, but feel that they do somewhat empower artists.

And that’s what it comes down to. Empowering or disempowering.

Good to give artists opportunities / better to give them paid opportunities.

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Get paid upfront.

Newbies often turn white at this suggestion.

They seem to assume that it’s too bold or direct to ask for a deposit from a client. What’s obvious to me is that this is a sign of inexperience.

In 5 years of running my own design and illustration business I have only once been challenged on my 50% deposit terms. Over 300 clients have automatically assumed this is fair.

Of course it’s fair. And any client who assumed it wasn’t is the kind of client you should run from as fast as you can. The deposit secures the work and clients know this. It puts them on the board and in the queue. Until a deposit is paid the project is only an idea. The project requires investment to commence.

An investment that always pays off. No business would survive if it didn’t follow through with its service offering. It is always in the best interest of the business to deliver on what it what’s been promised.

A few points to note:

  1. Starting out I only charged 25% deposit, simply due to lack of confidence. I bumped this up after the first time a client let me down by deciding not to go through with the project after I had invested a significant amount of time in it.
  2. For print jobs or situation in which I have to spend money on behalf of a client I expect 100% up front. Again, this has never been question by a client.
  3. It’s not unreasonable to ask for full payment from the start. I don’t do this because I find the 50% payment structure helps stagger cash flow better and it’s a nice reward at the end of a project to send an invoice

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Never work for exposure.

Exposure can leave you vulnerable to the elements.

Before you’ve started you have already played yourself. You’ve set the value standard for your work and the biggest exposure you receive is your price tag, people love to talk about a bargain. But you don’t want to build a business on bargain prices. Well I don’t anyway.

But there is something in the idea that you can take and use for your advantage. I think if you are setting the terms and rules of engagement then pro bono work ‘for exposure’ can work. But you have to be careful you are in control.

The reason people can capitalise on the ‘exposure’ offer is because they understand that you love what you do. The rationale is that you should then be prepared to do it for free. This puts the power in the hands of the organisation commissioning the work.

Take the power back. If you love doing what you do, and money isn’t the motivation, then you have all the power. You can then use this power to selectively distribute you efforts and talents in meaningful ways that directly correspond to the kind of exposure you want to receive.

For example. One of my clients is a popular local charity that are really good with social media. They respect my time and service and pay for it. However from time to time I will provide pro bono work because it’s a win win situation. I have a clear understanding of what defines a win for me. It’s this:

The work is directed entirely by my, I don’t compromise on style or colour. I do what I want and how I want it.
The work is making a contribution to a cause I am passionate about and see the first hand results of in my local community
The work is presented and distributed broadly to my demographic in a way that compliments my brand.

These three points help me decide when and with who I choose to initiate a pro bono project. By retaining power over these areas this becomes a strategic form of marketing in which I have seen direct results.

If the exposure leaves you vulnerable change the relationship dynamic so it’s to your advantage.

Never work for exposure, but feel free to work with passion and engage your preferred clients.