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My experience as an in-house creative has recently taken
hold again. For eight years, I ran Water Design
Studio with my husband before abandoning him for a cushy
corporate job (HA!) in 2010. The studio still exists, and he leads it now. I’m
currently the in-house art director for Reliant, a major electricity provider in Texas and the Northeast.
Having worked on both sides of the design fence—in-house and
in agencies—I’ve had the unique opportunity to see where each has advantages,
faces challenges and benefits the client. Here are my top takeaways.
When you own a company, it comes with a certain amount of
prestige. People go into the relationship with the assumption that you are an
established expert. When you work for an in-house group, that assumption is not
part of the equation. It’s ironic, because in-house creatives build an enormous
amount of expertise not only on design but also on the brand and company. They
understand and drive how the company communicates, and they do it as well as,
if not better than, outside agencies. But it’s the agencies that get more
With an outside agency, clients have an understanding of how
much money and time they are spending—because they literally have to pay for
it. With an in-house group that doesn’t bill back to the departments they work
with, the clients don’t know what they’re investing because they never see the
costs. Often this means requirements are not properly captured at the beginning
of the project, which in turn translates into more rounds of edits and longer
projects. As my friend David
Baker, a creative services consultant, once said: “Money is the currency of
Agencies also tend to get the bigger, sexier, more
time-consuming projects. Often the excuse for this is that in-house groups
(generally) have faster turnaround times and must be kept available for daily tasks
as well as any last minute projects. While that may be true, I think that bias
also plays a part: There is a belief that agencies are filled with experts only
and in-house creatives are less qualified.
My experience in both the agency world and the in-house
world has shown me that this last assumption is simply false. The larger the
agency, the more likely you are to have a junior team put on your project. The
creatives I’ve worked with in-house tend to be seasoned professionals looking
for more stability and better hours after starting families or simply after
living in the crazy all-hours-of-the-day-or-night agency world. They also
appreciate the opportunity to be closer to the products the company delivers
and to the business itself. In-house groups often suffer from a perception
problem that has to be acknowledged and mitigated if they are going to compete
against agencies for the “good” work.
At Reliant, I’m not the boss of the corporation. As an
in-house designer, I’ve learned that you have to be much more political and
agile. Your client may have pull and influence with people much higher up in
the company, and you have to consider not only their role but their influence
as well. The same is true of the other people within your group.
I don’t have the authority to hire and fire at will the way
I did at my own company. If the wrong people are in positions, I have to work
harder to get them to perform to standards than I would have for my company.
That’s not necessarily a bad thing. I’ve had to work with people more to help
them reach their goals, which in turn makes me a better leader.
Politics also play a much bigger role in my client relations
than it ever did at my studio. At the studio I always thought I had direct
access to the client. Being in-house, I now realize just how many fingers are
in the pie. The “final decision maker” is usually not the actual client. I
might have known that in the past, but now I see it up close and personal.
On an in-house team, there is no doubt that everyone in the
group has enough work, 40 or more hours of it a week. I know when I’m getting
paid, so it balances out the feast or famine cycle that studios and agencies
I would say the biggest advantage to working for a
corporation is that after work my time is my own. When I owned the studio, I
thought about work all the time. It was really hard to turn it off. My husband
and I owned the company together, and we would spend our evenings discussing
new prospects, proposals, ways to market the company. Now, we spend our
evenings discussing normal things, like what movies are playing and what our
kids are doing in school.
In-house creatives also have the advantage of location. If
your client doesn’t answer the phone or respond to an email, you can get up and
walk over to their desk. You see people in the halls and elevators, and it
reminds them to respond to you. You’re much harder to ignore face-to-face rather
than over the phone or email. You also never know what you’re going to learn
when sharing elevators and passing people’s offices. That conversation you
overheard may inform you about future projects, or help you understand what’s
going on behind the scenes keeping a project from moving forward.
Agencies have the advantage of an outside set of eyes. They
can approach a project without bias and with limited knowledge about the
politics surrounding it. This means they can think outside the box more easily.
Because they don’t live and breathe the brand everyday, they are less likely to
“modify” existing pieces and make them work for a new audience, product or
Outside firms also can develop a niche expertise, because
they leverage a small number of projects for a large number of clients.
In-house designers have only one client to focus on. When you develop a niche,
you bring insights and understanding to the project that generalists simply
don’t have. It takes less time to get a better end product.
In-house groups have a more intimate knowledge of the brand,
the company and the politics working behind the scenes. Brands are built on
subtleties. It’s the nuances that make a piece really effective or not.
In-house groups have a huge advantage here. You develop a deeper understanding of
how a product line works, and because you’re already familiar with the key
players, you know how that product integrates with the other lines. More than
that, you know how the organization is structured and gain key insights into
the politics between groups.
Lastly, if you work in an industry plagued with regulatory
and legal restrictions, in-house groups tend to understand the rules around
these restrictions better. Because they produce so many projects for the
company, they know when legal and regulatory issues are going to arise and what
steps are necessary to keep everything in check.
In-house creatives need inspiration more than those in agencies
and freelancers because they have to adhere to the SAME corporate brand
standards on every project. That means they need to be able to push the
boundaries while still coloring inside the lines (with the same crayon colors,
mind you). Having a group of people you can bounce ideas off of is instrumental
in thinking about a project in a different way.
As the AIGA Houston In-House Advocacy Chair, I organize
events that I hope will provide opportunities for in-house creatives to get
together and talk about the issues that they can’t discuss with their
left-brain corporate colleagues. The goal is for them to get inspired, get
educated and get connected all in one evening.
For opportunities to connect with other in-house designers and resources to help you grow within your organization, check out AIGA's INitiative.
Usually someone is either left-brained or right-brained. Heather is one of those rare gems who brings a strong mix of both strategy and creative to every project. Her business sense helps her branding and design work generate tangible, measurable results
for clients. And a few awards to boot. Over the last 20 years she has worked on both sides of the design fence – in-house and in agencies. She is currently Art Director at Reliant
As the Houston AIGA In-House Advocacy Chair, Heather is our liaison for In-House designers throughout Houston. She organizes events and socials that help in-house creatives thrive as part of the overall design community. Want to learn more about AIGA's
In-House Initiative? Contact her. Or you can learn more here: http://www.aiga.org/inhouse-initiative/
Developing a contract between yourself and your in-house clients may seem overly formal, but defining your business relationship with your company is absolutely essential for in-house success. Learn what questions you should ask and what information you need to have.
Section: Tools and Resources -
INitiative, in-house design, contracts
At Pentagram Julia Hoffmann designed for renowned clients including The Metropolitan Opera in New York. Then as art director for Crispin Porter + Bogusky, she worked for powerhouses like Burger King. Still, since joining MoMA in 2008, she believes that “in-house design studios are the future of successful branding.” In this interview, learn why.
Section: Inspiration -
INitiative, branding, in-house design
AIGA members have opportunities to learn new skills, get advice on
pressing career questions, hear insights from industry leaders and learn
how to manage more effectively. Find out more about exclusive webinars, workshops, certificate courses and conferences.
Section: Tools and Resources -
professional development, design educators, students
Design Jobs is an exclusive job board for AIGA members. Look here to find your next design job—or design hire!
Section: Tools and Resources -
Michael Cronan was recognized for crafting iconic names, identities and branding strategies that have become an essential part of the American vernacular and for his generosity of spirit.
Section: Inspiration -
Another competition is in the books! The Big One, Alaska's annual design show awards ceremony and exhibition, was Saturday, November 15 at The Boardroom. The event was truly statewide, with entries coming in from as far north as Barrow and far south as Nikiski.
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