Carol Mackay, Design Business Council, on finding your onliness

Carol Mackay, Design Business Council

Carol Mackay helps Australian creatives manage their business better - more effectively, more efficiently and more sustainably - so they can spend more time creating. After 30+ years running a graphic design firm, Carol moved from client-focused projects to consult to the design industry. Now with the Design Business Council she uses her experience, and research, to help creatives build robust, sustainable businesses, and to help businesses integrate, and profit from, design.

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What’s the difference between personal branding and onliness?

Personal branding is how you want to be perceived by others — or as Amazon’s Jeff Bezos would say, what others say about you when you are not in the room. I prefer to use the term ‘onliness’ – comes without the history and baggage of ‘branding’.

Was your own ‘onliness’ something you instinctively understood, or did it take a lot of trial, error and experience to work out?

I’m relatively new to the importance of thinking about my ‘onliness’ and that’s mainly because I’ve worked alongside my life partner for nearly 40 years. We first worked together for someone else, then in a design studio we co-founded and now at the Design Business Council. During the design studio tenure, we had distinctly separate roles that evolved over a long period of time. Greg had his clients and I had mine. He ran the external face of the studio and I ran the internal. Our roles evolved with the business.

This changed when I closed the studio after 34 years to re-join Greg in a side-hustle we’d co-founded five years earlier. We’d dipped our toes into a venture we thought might work, and then worked hard to get it to a stage it could fund us both.

While I kept the studio going to fund the venture, Greg had had five years to assess, define and refine his new role. And he is is really, really good at what he does. When I joined him, I had to work out how I could add value. Greg and I now have overlapping roles with far less clarity.

Anyone with a successful partner knows if you don’t have clarity around your own strengths and weaknesses, if you don’t have a strong sense of your value, you will continually be overshadowed. Especially if you are second to the table. I’d come from the comfort of a role I had for 34 years into a new challenge needing completely different use of my existing skills.

“I had to find my onliness, and I had to find it quickly. It wasn’t easy.”

Is onliness important when you’re first starting out?

Being aware of your onliness is absolutely of value to a graduate. It means you can stand above the cookie-cutter folio we all graduate with, and more easily sell your value into prospective employers, in writing, in visuals and in person.

What do you think the main obstacles designers come up against when running a small business?

Stamina and sustainability. That first flush of clients may last a year, may last five but we work in a rapidly changing industry that is constantly disrupted. Identifying, adapting and managing change is constant. It takes energy and it takes stamina.

Many small business are founded by people who love what they do, but don’t necessarily love the business of what they do. Sustainability comes from employing someone to work on the business so you can continue to do what you love. If you love what you do, stamina is less of an issue. Energy comes from enjoyment.

You’ve taking your wealth of design knowledge and client-focused experience and pivoted to consulting, are you enjoying the pivot?

I am now. But it took a couple of years to be comfortable in my new role.

Comfortable working as a partnership rather than with an in-house team and running a studio. Comfortable remembering I’m now a supplier to the design industry rather than a designer and comfortable referring projects from ex-clients to other designers.

What I am enjoying is having a forum to share my experience. I would have loved to have a ‘me’ to advise me through the tough spots – that’s what I’m trying to do with others. Running a creative business is hard. Your eye is continually on billings for the end of the week/month/quarter. Having time to future plan is really difficult.

Now I am relishing having time to research better ways of running a design business. I’m relishing having time to talk to others about what they do, why they do it and how they do it. And I’m relishing having a voice to share that knowledge.

Have you had to change your onliness at all?

I am naturally a chatty, enthusiastic introvert who is most comfortable chatting one-on-one. Five-on-one sometimes. Ten-on-one max. This is not a perfect attribute for my new role in the Design Business Council, and it could be said it limited my role.

It was the personal journey map activity (I’m going to share in the Masterclass) that helped me identify what I do well, and what I don’t –  and that helped me change my thinking because I understood where I needed additional skills.

Tell me a little bit about the work you do with Womentor (on hiatus at the mo) and how important do you think mentors are to women in design? And women in general.

Mentors are important. Having the counsel of others can open opportunities and remove obstacles. I’ve not had a mentor (apart from Mary Tyler Moore and Murphy Brown :) but I am sure with one I would have worked more efficiently and more effectively.

On the other hand, I’ve mentored many, as does anyone that employs others, and especially graduate designers. I’ve mentored employees, designers within schemes like AGDA and Womentor, and as a paid gig as part of my role within DBC.

“Mentoring is sharing knowledge and that comes easily to me. I think we all have an obligation to give back to the industry. ”

Where can women find a mentor that’s right for them?

I think many women struggle to find a mentor because of their mindset. They seek someone who will give their time freely, who has the perfect balance of knowledge, character and in an aligned career. Can you see the problem?

Mentoring should be a two-way relationship. Good mentors are open to continually learning, and to new experiences yet many mentees are only interested in taking. I’ve had designers request to buy me a cup of tea only to sit opposite me with an open notebook and grill me with questions until my eyes water and my bladder almost bursts. And then they ask when we can meet again.

Knowing your onliness is about understanding how you can give back to your industry at every level. Perhaps it’s not about finding the right mentor, perhaps it’s about making connections with people with whom you have something or someone in common and with whom you think you could share something you know in return for some advice. Who would not love that?

What’s the one bit of advice you would give women in business?

Firstly, that it’s OK not to be in business. If the business is a weight around your neck, if it is not giving you joy, and you don’t like the majority of your day, then it’s absolutely OK to walk away and support the work of someone else. The world is obsessed with start-ups but having a business is hard on every level.

 It’s hard making the tough financial decisions. It’s hard to continually disrupt yourself and your business in an attempt to stay relevant and it’s hard working solo, but then it’s really hard managing other creatives.

 It is not for everyone and I don’t think enough people consider walking away. That said, the one bit of advice I would give is understand your onliness – what you do differently to others, what makes you distinct. Understanding your strengths and your weaknesses makes it easier to play to your strengths and buy skills that plug your weaknesses.

And that’s what makes it easy to portray a successful personal brand.

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Join us for Carol’s Masterclass on Friday November 6th at 1pm. Subscribe to her weekly article that helps designers manage their business. You can view her current work at Design Business School and see an archive of her design work at mbdesign.com.au

The one page marketing plan every creative needs

Very few creatives go into their field with a solid business or marketing plan. Most creatives ‘fall into’ their profession from dabbling in a skill as a passion or a side project that eventually organically evolves.

If this is you, well done on making a career out of your passion! But if you’ve got the ability to generate a higher income by charging more, attracting more clients, automating some of your processes or monetising elements of your business, why wouldn’t you?

Don’t be put off thinking you need a complex 10-page document outlining every little detail and strategy. Nobody’s got time for that. I like to keep it simple, so instead let me introduce you to the 1-Page Marketing Plan.

The one page marketing plan

It’s exactly what it sounds like - a clear understanding of what you’re offering, to who, and how you’ll get it in front of them, summarised on one page. This means you can stick it on your wall or somewhere prominent and easily remind yourself with a glance what you should be focused on.

Who it’s for

In short, anyone selling a service or product. For those of you who work under your own name, make no mistake - you are a business. If you’re not already thinking this way, this is a fundamental shift in mindset you need to make first.

If you work for someone else, this is still relevant to you too. Your employer sees value in you that they’re willing to pay for, and having a plan around how to maximise this value can be hugely beneficial for your career.

Let’s dive in with an example of one for a completely made up business running art workshops for kids:

Above: An example one page marketing plan. Download a free template PDF

As you can see, it’s made up of 10 simple boxes for you to fill out:

Product/Service

This is about what you’re selling in the simplest form. Keep it short and sharp, with only a few words maximum.

Audience

Who’s actually paying for your product or service? This might be different to who your product or service is for. In the example above, the service is for kids, but the audience is actually their parents because they’re the ones paying.

Pain Points

If you can pinpoint the deeper reasons why your audience is seeking out your product or services, you’re onto a winner. This will help you write benefit-focused copy that speaks directly to the problem they have.

Value Proposition/s

What is it that makes you and/or your business truly different? What sets you or your product apart? You might have a significant amount of experience in your field, or your product is handcrafted locally. Whatever makes your product or service special, put it here.

Influencers

I’m not talking about Instagram influencers here, although they could factor in. Consider who might influence your buyer’s decision. In the example, teachers and the kids participating in the workshops would be strong influencers on whether their parents enrol them or not.

Key Message

Think of it this way: if you were chatting to someone while ordering a coffee, what’s the one thing you’d want them to walk away knowing about what you offer? Keep this short and sweet - our human brains simply can’t retain too much information so if it’s long-winded, people don’t remember anything at all.

Free Channels

Write down every free channel you can think of that you could reach your audience or their influencers through - both online and offline. Now go back and highlight the ‘quick wins’ that are likely to have the biggest impact.

Paid Channels

This is the same as the free channels box except, you guessed it, paid. This will often refer to advertising, but it could also be things like competitions (because giving away product costs you money) or paid partnerships and collaborations. Be specific here - instead of ‘Instagram’ you might write ‘a collaborative competition with brands X and Y on Instagram’. Come up with as many ideas as you can, then highlight the channels likely to have the biggest impact.

Cost

Time is money, so consider both the financial and time implications of focusing on the free and paid channels you’ve listed. Consider whether this is something you can truly commit to.

Goal/ROI/Success Metric

How are you going to measure whether all this time, effort and potentially money has paid off? By writing a SMART goal in here of course! This could be anything from a particular number of bookings, sales, a specific return on investment (ROI) or adding people to your email list.

Whatever makes sense for you, write a maximum of three here and make sure they’re specific and timebound. I recommend not looking more than three months into the future to keep you focused

I strongly recommend reviewing this at least once every few months to keep you focused on one thing at a time. For example, your goal initially might be to increase subscribers on your email list, and the rest of the page is also focused on this. Then the following month might focus on converting a percentage of these subscribers into customers or clients.
Most of all, this is designed to be completely flexible so I encourage you to download the empty template and find what works for you.

Courtney Goes is a Melbourne-based digital marketing and brand consultant with experience across a range of industries in Australia, the United States, and the United Kingdom. Since leaving the corporate world in 2016, she’s been on a mission to help women make smarter marketing decisions to elevate their businesses and personal brands through simple, effective strategies. Working mostly with creatives, freelancers, and female-owned startups and small businesses, she provides clarity, structure and accountability to get real, tangible results. She has also launched Marketing Emporium, a resource hub designed to provide simple and straightforward marketing advice. Contact her at courtneygoes.com.

Why desire and motivation pull us in different directions

3 min read

"Our lives are defined by opportunities. Even the ones we miss."

F.Scott Fitzgerald, 1922.

Every new year I promise myself that I will get in shape. My vision is toned and tight, tanned skin and an ability to lift my body weight effortlessly. I go to the gym, I do yoga, I eat well, drink heaps of water. For a few weeks I’m moving towards my goal and starting to feel and see results. My mood improves, I feel confident, capable and strong. And then… out of the blue, I start skipping classes as I meet my own destructive personality habits and inhibitors.

In her book, Write; 10 Days to Overcome Writer’s Block. Period.  Karen E. Peterson suggests that this blockage is due to the struggle between the left and right hemispheres of the brain leading to an ultimate toddler tantrum show-down. While “the ‘just-do-it’ left hand side of the brain is logical, language-based, and adult-like, the ‘just-say-no’ right side of the brain is dominant for emotion, negative memories and sensory output.”

In the moment of deciding whether or not to go to the gym, I can logically understand that going will make me feel good because it will help me move towards my vision and goals, but in that moment, my right brain wants to feel less pressure, take the easy route and have a good time. Wine and cheese in front of the telly? Oh yes, Emily, you know me so well. Right-brain wins. I lose.

The Divided Self 

“I am dragged along by a strange new force.

Desire and reason are pulling in different directions.

I see the right way and approve it, but follow the wrong.”

Ovid, 43 B.C. – 17 A.D

In The Happiness Hypothesis: Finding Modern Truth in Ancient Wisdom, Jonathan Haidt explains what he calls “the divided self” quoting Roman poet Ovid to define the difference between logical and emotional thinking. Haidt goes further than left and right brain dualism, believing that the brain is divided by four parts; Mind vs. Body, and Left vs. Right, Old vs. New, Controlled vs. Automatic, thus likening the self as a “committee whose members have been thrown together to do a job, but who often find themselves working at cross-purposes [contributing] to our experiences of temptation, weakness and inner conflict.”

This idea of a divided self is not new; Plato split the body into soul and mind; Freud divided the mind into three parts; the ego, superego, and id. The common theme among philosophers is that our multi-dimensional personalities work best when working together, instead of in conflict which each other. So how do we get our divided selves working together to achieve the things we want?

 Motivation and Drive

"We do things because they're interesting. 
We do things because we like them, because they're inherently gratifying."

Pink, 2010

Daniel Pink, in his book, Drive: the surprising truth about what motivates us, artfully surmises why we engage in some tasks, and not others. It’s interesting to note that motivation is often created after we start a new behaviour, not the other way around. Taking a single step towards achieving your goals and vision is a great start. By actively going to the gym, taking that initial action, I was on my way.

To maintain drive and momentum:

1.    Set yourself realistic and achievable goals, but be kind to yourself if you don’t nail them on the first attempt. Be a personal coach, not a dictatorial punisher. Positive self-talk is really important – be kind and patient with yourself.

2.    Scheduling is important. If I don’t have dedicated time that’s in my calendar, there’s a higher chance my inner toddler will want to sit on the floor and avoid it.

3.    Procrastination is an avoidance mechanism which helps us find alternatives to fill in time and entertain ourselves. Procrastination is fine, so long as it has a time stamp and doesn’t interfere with your non-negotiable scheduling.

4.    Give yourself mini-deadlines to review your achievements and acknowledge your loses.

5.    It can take a while to develop a new habit, so don’t give up after a few weeks. The literature suggests it can take 10 – 16 weeks, so keep up the momentum.

6.    Be aware that motivation may come and go. Ride the wave and stay connected with your desire. This will fuel your motivation when you’re feeling challenged.

7.    Life doesn’t have to full of tasks, give yourself pockets of time to play or do nothing. You’ll feel less guilty taking time out if you’ve actively made the decision to keep periods of time free and open to fill at your will.

References and further reading:

De Botton, A (2001). The Consolations of Philosophy. Penguin Books: London, UK.

Fitzgerald, F.S (1922).  The Curious Case of Benjamin Button. Colliers Magazine: USA.

Haidt, J (2006). The Happiness Hypothesis: Finding Modern Truth in Ancient Wisdom. Basic Books: New York, USA.

Ovid, 43 B.C. – 17 A.D. (1989) Metamorphoses. Spring Publications: Dallas, Texas.

Peterson, K. E (2006). Write; 10 Days to Overcome Writer’s Block. Period. Adams Media: Avon, USA.

Pink, D. (2010) Drive: the surprising truth about what motivates us. RSA Animation [Online] Accessed 09/06/2014 from, http://www.youtube.com/watch?gl=SG&hl=en-GB&v=u6XAPnuFjJc

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Emily Wills is the creative director of surface pattern design studio, SURFACE 1°22. In her various manifestations, she has worked as a fashion designer, illustrator, curator, arts educator and printed textile designer. Emily founded the SURFACE 1°22 Design School in Melbourne, offering hands-on workshops and short courses in surface and textile design. Find out more on the SURFACE 1°22 Design School Facebook or Instagram.

Creativity is just simple math. Here are the formulas to prove it.

Mathematics can indeed be defined as the general science of pattern and structure. Because art also involves patterns and structures, art and math relate to each other in many natural ways.” (Farsi and Craft, 2005)

Creativity can be defined as an ability to create new ideas by combining one or more existing ideas. Like adding, building and connecting - sounds a lot like simple arithmetic to me. The more I looked at this, I discovered that Creativity has some fundamental similarities with Mathematics. Both areas require creative thinking and problem-solving processes such as addition, subtraction and multiplication. Reckon you’re not that good at math? Turns out, you are more than likely engaging in maths in your creative practice…

Addition and subtraction

It may be reductive thinking, but I propose that there is a unifying connection between Addition and Subtraction as they can be considered the same process working in opposite directions. Addition works to group objects, ideas and thoughts together. The old Fashematics website (see end of post for link) was a hilarious example of reverse addition; the contributor looked at images of fashion couture and worked backwards to suggest their original inspiration from unrelated, and often innocuous objects.  

Similarly, a mash-up demonstrates how music producers cut two parts of two separate songs apart, then stitch them back together to create something new. Simple subtraction and addition. The concept of mash-up moves from music to art through collage where cut and paste uses subtraction to isolate and fragment one image into singular parts, and then reassemble these pieces into new compositions by pasting seemingly unrelated objects back together again.

Multiplication and repetition

Multiplication can be defined as the repeated process of addition. While for me, multiplication dredges up memories of learning my times tables, repetition is used by artists and designers to create a sense of movement or point of interest. Repetition, and the act of repeating, creates new rhythmic patterns and places emphasis on a word, image or sound. Repetition of a beat, lyrics or the arrangement of notes can create a catchy hook.

Art and creativity are simple math  

Creative Thinking requires an ability to see and recognize patterns, the fundamental ability of mathematicians who “start with some basic rules, then make any moves that fit those rules—which includes inventing additional rules and finding new connections between old rules.” (AAAS, 1990). It is not surprising therefore to find that each artist, author or mathematician is building and multiplying knowledge based on existing concepts and theories. These high functioning cognitive skills show a balance between right and left brain thinking; the ability to come up with complex solutions for multiple outcomes.

Clever, aren’t we…?

References/further reading on creativity and mathematics:

• http://fashematics.com/

• American  Association  for the Advancement  of Science. (1990). The  Nature  of Mathematics. https://www.aaas.org/programs/project-2061

• Farsi, C. and Craft, D. (2005). Mathematics and the Arts. University of Colorado, Boulder & Lakewood. http://staff.washington.edu/rockne/math-art.pdf

• Gavosto, E.A. and O’Donnell, L.E. (2012) Learning with Technology: Similarities in Mathematics & Writing. University Press of Kansas.http://math.uoc.gr/~ictm2/Proceedings/pap431.pdf

• Haren,  F. (2004).  The  Idea Book.  Interesting  Books: Stockholm,  Sweden.

• Turner, M. and Fauconnier, G (2002) The Way We Think. Conceptual Blending and the Mind's Hidden Complexities. Basic Books: New York

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Emily Wills is the creative director of surface pattern design studio, SURFACE 1°22. In her various manifestations, she has worked as a fashion designer, illustrator, curator, arts educator and printed textile designer. Emily founded the SURFACE 1°22 Design School in Melbourne, offering hands-on workshops and short courses in surface and textile design. Find out more on the SURFACE 1°22 Design School Facebook or Instagram.