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July/August 2008 V24N4
This is the second annual issue that STEP has devoted to the intersection of design and business. A panel of experts has prepared great content for us.
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July/August 2007 V23N4
This special section focuses on internal and external considerations that determine success and define the state of the art in today's design industry.
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May/June 2007 V23N3
It’s not easy being green, as Kermit famously said, not if you’re honestly trying to create a sustainable company. We explore the role, from a client’s perspective, designers can play in such challenging transformations.
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May/June 2006 V22N3
This two-part article examines how the ongoing evolution of the design profession has made it necessary for creative firms to rethink how they’re structured and how they describe their services to potential clients.
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March/April 2006 V22N2
To land a hands-on creative job, you must have an outstanding portfolio
that demonstrates the quality of your thinking as well as your form-giving
abilities. Most designers need two versions—a physical one that
can be carried around and a website.
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January/February 2006 V22N1
It’s not unusual for new designers to provide services to clients with no contract whatsoever, but a good contract prevents confusion and protects everyone’s interests. Shel Perkins offers this guide to creating a rock solid agreement.
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Nov/Dec 2005 V21N6
Shel Perkins tackles compensation options, commission structures, finding
candidates who are a good match for your firm, and guiding a new sales rep through a successful orientation period.
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Sept/Oct 2005 V21N5
If a new employee is going to be given the responsibility for marketing
and sales, the transition must be planned very carefully. Here’s what you should do to prepare.
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July/August 2005 V21N4
The issues surrounding copies and copying in graphic design
are confused for several reasons, but the first problem seems
to be the way we talk about the subject: We have an inadequate
vocabulary, and the vocabulary we have we misuse.
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July/August 2005 V21N4
In discussing ethics and design, there are at least three different levels to consider.
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May/June 2005 V21N3
In the design profession, nearly all important projects are
too large to be completed by just one person. Because of this,
each creative firm strives to develop a culture that fosters effective
teamwork.
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March/April 2005 V21N2
Some independent designers work directly with business clients; however, others prefer to work behind the scenes as an additional resource for established creative
firms. If you are one of these people, how should you go about calculating
a fair price for your services.
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WEB-EXCLUSIVE CONTENT!
