care and feeding of EMERGING TALENT, the

Step Inside Design, Jan/Feb 2005 by Bernard, Nancy

PART ONE:

Two creative directors tell us how to find and manage talent-and a former protégé gives thanks.

STEPHEN FRYKHOLM

Frykholm has been graphic design director with Herman Miller-which needs no introduction--for decades. He's seen a lot of talent come and go, and remembers his protégés with great fondness.

FINDING TALENT

Talent comes to Herman Miller because of our reputation. Some of the best have come to us through a recruitment program, in which we offer recent design graduates a one-year contract. That's how we found Kevin Budelman and Yang Kim. When their year was up we were short-staffed, and asked them to stay. I could see they had talent that deserved to be nurtured because they understood the problems and presented ideas, instead of graphic pizzazz. They discussed what they wanted to accomplish rather than how they would accomplish it: They sold the steak before the sizzle, the communication before the colors and point sizes.

I look for people who have design in their blood and have good work ethics. Kevin and Yang both worked hard and steadily. They were willing to make personal sacrifices to achieve excellence.

CARE AND FEEDING

To help them succeed, we gave them meaningful work and let them go at it. Sometimes we kicked off the project with a few ideas, sometimes not, but we always provided encouragement. When we had to criticize we did it honestly, by putting the project in context: Where would it be? Who would use it? How would it be used? While I demand excellence, I'm constructive, because success comes from self-confidence, not from intimidation.

I had a good time working with Kevin and Yang. I wouldn't have worked with them otherwise (and I wouldn't continue to work with them as contractors now). We loved talking about design, the methodology, testing every idea. We enjoyed anticipating the issues and making it easy for the client to say, "Yes."

SELLING THE WORK

Our design discussions make it easier to present and sell the final ideas. Though we're Herman Miller's in-house design group, we still have clients. The chairman, CEO, and president review annual reports, product managers review collateral, marketing reviews promotions, and so on. When it's time to present our designs, whoever works on the project has the opportunity to present it. However, since young people sometimes lack the persuasiveness, confidence, and sense of presence it takes to sell an idea, I'll get in there and stand up for them when necessary.

The techniques are simple. First, let the client know you understand the project and have a good solution. It feels like bragging at first, but you're the expert. Your client needs to know why you've done what you've done, and why you believe it's a good solution.

You also need to recognize failure gracefully, which I learned from John Casado. During a presentation he made to us, we started nitpicking. John, very politely, picked up the boards and said, "I believe I'm off the mark. Let me take this away and come back next week with another solution." Instead of arguing, defending, or letting us art direct him, he took responsibility. That's what I teach the people who work with me.

LETTING GO

I didn't want to see Yang and Kevin go, but I understood that they had an itch to see if they could make it on their own. I believe they've succeeded. They built a nice-sized design firm, BBK Studios, and have done good work with good clients. Watching them come into their own is my best reward.

JOE DUFFY

Duffy spoke to us by cell phone from New York. He and his staff had come from Minneapolis tor the AIGA Medal ists Gala, where Joe and his work were recognized. They stayed over to tour trendsetting shops and boutiques. "We need the input. This trip will more than pay for itself in the inspiration it'll generate," he said.

SUCCESS STORIES

I have been fortunate to have had dozens of talented young people come through our doors over the years. I'm proud of all of them, but I'm proudest of the ones who had the guts to move into another discipline or expand their horizons, like Missy Wilson, Todd Waterbury, Genevieve Gorder, and Brian Collins.

Missy Wilson opened a gallery with an interior design boutique in New York. She's pursuing an entrepreneurial venture in an entirely new discipline.

Todd Waterbury became creative director at Weiden + Kennedy in New York. He's done incredible work for clients like Nike and ESPN in design, branding, and beyond, to master print and video advertising.

Genevieve Gorder has become known as a designer, as well as the star of the successful television series Trading Spaces on TLC. Her own show, The Town Haul, will be premiering soon.

I hired Brian Collins partly on the basis of his portfolio, and partly because he was willing to help us develop our business (it's hard to find people who are sensitive to design to work on the business side). He went on to become an outstanding creative director-no easy transition. I now consider Brian and Ogilvy's BIG (Brand Integration Group) team one of our toughest competitors.