Almost every company or department has a weekly or at least a monthly meeting, where the troops are brought together to discuss old and new business. You may be tempted to sit quietly and hope no one notices you. But that would be a mistake. These meetings can be a great forum to show management your business savvy, if you follow some basic steps. What are they?

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Bosses come in a variety of types: the micromanager, the bully, the idea thief, the wimp. But perhaps the worst of all is the disengaged boss, the manager who is so uninvolved with the business and staff that no one knows what he or she is thinking or expects from them. Are there ways you can survive a leadership vacuum?

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Ah, multitasking. It’s not just a buzz word; it’s a way of life in the corporate world. And chances are, it’s something you’re obliged to do every day. Some people find it invigorating switching from one task to another throughout the day. But if you’re not one of them, you can take some of the stress out of the process and actually optimize your multitasking. How?

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Establishing a relationship with a designer is akin a successful marriage. You need someone who understands your needs, your shorthand, what you hope to get from the relationship and always has your best interests at heart. If you can develop this kind of relationship with a designer, your prize will be an exhibit that’s both creative and useful. But how do you find Mr. or Ms. Right?

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Most of today’s exhibit designers come from an industrial, architectural or interior design background. But the times are changing.

At Minnesota’s Bemidji State University, students can earn a bachelor’s degree in exhibit design. Each spring, industry professionals evaluate the students’ portfolios. One of this year’s judges was Philip Lauzon, MC² creative director. Below, he discusses his experience at Bemidji, the changing world of exhibit design and what industry professionals can learn from the university’s students.

eConnections: What are the categories for the exhibits you review at Bemidji?

Philip Lauzon: They can be traditional trade show exhibits, mall installations and more. For select projects, the students chose their own clientele, and they presented their three best works.

One student designed a mall kiosk environment for EOS lip balm. It had a unique feature — egg-shaped pods that looked like the lip-balm container. For the mall kiosk assignment, the guidelines appeared to be relaxed, and the students were allowed to design creatively to match their chosen brand.

eConnections: When you review a student’s exhibit, what elements of its appearance do you concentrate on?

Lauzon: I look to see if it tells the brand’s story, and it’s an environment where visitors can connect with the company, not just the next cool material, technology, shape or architecture for architecture’s sake. The integration of products and the journey the exhibit provides are important, too — how an exhibit immerses a visitor in an experience.

Other factors I look for are rendering quality and the ability to sketch. Many students go straight to the computer and avoid drawing, but in our business, raw thumbnail sketches really enhance presentations.

Additionally, video can be a powerful presentation tool, and when used, the best animations tell the story of a space by bringing the viewer in, not just spinning around the exterior.

Beyond visuals, I concentrate on the presenter. I look for confidence and the ability to passionately convey a great idea. Designers today aren’t just sitting at a computer all day; now, they are a critical part of the sales and information-gathering process.

eConnections: What do you look for in the content?

Lauzon: Our industry has moved from merely building exhibit architecture to creating canvases for media and content. Being able to fold technology into a space is very important. Technology is critical in any exhibit; it brings a space to life.

eConnections: How relevant is the narrative?

Lauzon: It’s essential to have a good story behind the space that represents the brand and product. Without a narrative, an exhibit can be a cold, empty space.

eConnections: How is technology changing?

Lauzon: Every year, we see new exhibit technology, like big LED video screens and 3-D projection mapping. Screens and billboards that come alive are replacing flat posters. I’ve also seen fully digital spaces with massive video walls and projection surfaces.

At a show, you may feel like you’re too busy to get out of your own space and walk the floor, but you have to so you can stay on top of the new technologies and the environments your competitors have created.

eConnections: What recent trends in exhibit design have you noticed?

Lauzon: Fabric has become the go-to material, especially for larger exhibits. People are using it to create walls that look solid but aren’t. Large sheets of fabric are light and less expensive to ship and allow you to change the look and theme of your space quickly.

Color has also been a key trend over the past few years. Exhibitors have switched from cold, corporate colors to bright, candy colors, reflecting a more optimistic time. Whimsy is apparent, too, thematic pieces that are one-off just for the fun of it.

Lighting’s become more critical, too, with even the smallest exhibits getting a more sophisticated look by controlling the ambient light or spotlighting products.

Plus, exhibitors used to put out tons of product to attract visitors. Now, they count on narratives and storytelling with a great media presentation to entice visitors into a space.

eConnections: How can exhibit/event professionals stay on top of these kinds of trends?

Lauzon: In addition to walking the show floor, keep your eyes open in day-to-day life and take pictures with your phone for later reference. Also, look for interesting design elements wherever you go or while you watch TV. For instance, I like to watch live performance shows to see the set and stage designs.

Many online sites can also help. Watch a TED.com inspirational talk every day. Or go to the design blogs like notcot.com or join several different design discipline groups on LinkedIn.

eConnections: Based on what you’ve seen on the show floor, what lessons do you think professionals could learn from design students?

Lauzon: Forget what you know. Students don’t always know what works, so they come up with different, fun things. Plus, experienced designers may repeat a step or detail too often just because they know it works.

The students have a drive, a hunger, a sparkle. They get so excited about everything. Try to rediscover those qualities, and push yourself to be creative.

Philip Lauzon, MC² Southwest creative director, oversees all dimensional design solutions in coordination with clients’ existing brand standards, corporate marketing efforts and targeted event objectives. Prior to joining MC² in 2009, he was the owner and principal designer of SpatialArt Studios, a creative resource developed for the live event and exhibit community. Previously, Lauzon was the senior designer at Exhibit Dynamics and principal of creative strategy at Phoenix FORMations, Inc., guiding all creative endeavors at both companies.

An accredited CTSM speaker, Lauzon has co-authored and presented several sessions at Exhibitor show and ExhibitorFastTrak, including the currently scheduled Collaborate. Create. Succeed. Maximize Results Through the Power of Design.

Tools like Facebook, Twitter and LinkedIn can help you boost your trade show marketing programs. But using them isn’t as simple as getting an account and sending out messages; you need to clearly define your goals and not just determine your target audience but listen to them as well. So, where should you begin?

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— Helen, marketing assistant

Here’s some healthy advice

Although the flu season may be over, colds and a slew of viruses can spread like wildfire through an office any time of the year. How can you keep from becoming a victim?

Our readers say:

• Disinfect your space.
• “Bug” management about it.
• Don’t contaminate yourself.

Disinfect your space

Helen, you can’t build a bubble around your office space to keep out everyone and their germs. But you can take remedial action.

Tony Salamone suggests the following on MC²’s Facebook page:

“Clean hard surfaces with an all-purpose cleaner or bleach and water solution to kill bacteria and viruses.”

‘Bug’ management about it

An illness that goes around the office results in lost productivity. That makes its prevention a management concern.

A trade show coordinator thinks managers should take an active role in ensuring a healthy workplace.

“Bring your concerns to your boss and ask him or her to place boxes of tissues throughout the office, so people will be less likely to sneeze or cough into their bare hands. Also, suggest putting hand sanitizer or sanitizing wipes at the reception desk, break room and areas where staff members gather.”

Don’t contaminate yourself

Despite your best efforts, some germs may still make their way into your space or areas of the office you visit. So, it’s up to you to keep them from making you sick.

An events consultant explains how to do this.

“Unless you’re sure they’re clean, keep your hands away from your nose, mouth and eyes. Also, avoid reaching into those candy and cookie jars for a snack. (How many other people’s hands have been in them in the past day or two?) And, needless to say, avoid eating anything with your hands until you do a quick wash up first.”

Forecasting is an essential part of planning, otherwise, there is no way to know what the results should be and therefore how much to spend as an investment. Without a forecast, it is difficult to tell what elements of an event plan worked and which did not. Additionally, a good forecast allows the event manager to set realistic expectations with executives and others about what will be accomplished, overcoming perhaps erroneous, but hazardous preconceived notions about results. And finally, a forecast sets realistic, quantitative goals for the team to pursue.

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A successful event is much more than just a collection of exhibitors in a large, enclosed space. It’s an experience, one that appeals to all your attendees’ senses. Plus, it meets the needs of exhibitors, sponsors and other people working the event. What are the key elements you should consider — and how do you get them right?

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Today, some people virtually refuse to be anywhere without a smartphone or other electronic device turned on and at hand. If they’re not texting or calling someone, they’re busy updating their Facebook page or playing an Internet game.  So, how do you get attendees to put away their toys and focus on your presentation?

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When you’re organizing an event, arranging accommodations for attendees is often a must. But with that task comes the risk of room attrition. Most hotels have an attrition clause, but many will waive it. In some cases, getting rid of the clause is a good idea; other times, it can prove disastrous. So, when should you keep the clause in place?

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Sometimes, what you say can be as important as what you do at work. Saying the right things can improve your professional image and help lead to a promotion. But saying the wrong things can damage — or even destroy — your chance for advancement. What are some things you should never, ever say at work — and why?

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The exhibit RFP (request for proposal) process can be detail-heavy and time-consuming. To simplify it, some people reuse an existing document. But they shouldn’t.

With a well-thought-out RFP and evaluation of responses, your odds of finding the right supplier—and getting the exhibit you want—go up exponentially.

Rich Gilligan, VP of marketing at TELUS International, explains how to make the process — from creating an RFP to establishing a relationship with your supplier — work for you.

eConnections: Why do we use RFPs to do business?

Rich Gilligan: Typically, an RFP is necessary because a contract runs out or has ended, and it’s company policy to go to bid. It’s usually not a lack of performance on either side; it’s cyclical.

But if an RFP is required due to lack of performance, there’s often an “out clause” included in the contract, stating that any time either party feels there’s a lack of performance on either side, the contract will end following a 45-day notice.

Another reason is because there’s new business not previously performed at the company, so a new supplier is needed.

eConnections: Should exhibit planners write their own RFPs?

Gilligan: I don’t think they should. It should be a collaborative effort with procurement. Exhibit planners have specific insight and expertise. They understand the details of what they are sourcing. But the procurement group understands terms and conditions, and they manage risk like the supplier’s intellectual property.

eConnections: So, who should lead the RFP team?

Gilligan: That depends on what you’re sourcing. For an exhibit, the exhibit planner is the leader 90 percent of the time. But if company management feels building the exhibit is purely a price decision, procurement takes the lead. Legal comes in further down the line, and insurance people may be involved.

eConnections: Why do some RFPs work while others don’t?

Gilligan: The ones that don’t work aren’t clear as to what you want and fail to articulate what is needed. To prepare an RFP that’s effective, you must understand the goals of the company’s exhibit program, what you’re trying to source and the quantitative information you need to make a decision.

eConnections: What are the elements of a good RFP?

Gilligan: First, find out the goals and what’s most important to the line of business the exhibit will be supporting. For instance, if the marketing people intend to close business deals in the exhibit, a well-thought-out request must include that information.

Also determine how the exhibit is going to be used. Will it be just for a big industry show? Or will it also be going to smaller shows with smaller footprints or serve multiple purposes over time? If it’s going to different venues, you’ll need the exhibit to be durable, light and something that can be set up by someone unfamiliar with setups.

eConnections: How do you structure the questions to get the answers you need?

Gilligan: Ask the groups what they hope to accomplish. Determine how long the exhibit should last, for an entire campaign or one big show. And find out about the decision criteria — price, quality or somewhere in the middle.

Write questions tailored to your industry; never recycle an old RFP for another industry, just to save time. And make sure your questions include the goals and concerns of everyone who touches what you’re sourcing. Since different lines of business may be sharing the booth, consider the needs of all these entities.

For example, procurement’s requirements are more around legalities and risk. They are the guardians of bigger company finances while the exhibit professional is in charge of the exhibit finances, so the final selection must fit into your budget.

eConnections: How many RFPs should you send out?

Gilligan: At most, I would say seven, but it would be better to send out only three or four. Why? It takes a lot of work for you to develop scorecards and review all the responses. If you send out too many RFPs, you won’t have the time to look at them closely.

When you send out the RFPs, include a set period of time for bidders to ask questions. Then, send all the questions and your answers to every bidder in a way that no one will know who asked what. Providing this information to everyone levels the playing field.

eConnections: How should you evaluate an RFP response?

Gilligan: Look for who’s on target and understands the questions. A supplier may want the work and skew its answers to what it can deliver, not what you’re looking for. Pay attention to these kinds of details.

eConnections: If you’re at the point where you think you’ve found the right supplier, how do you qualify it?

Gilligan: Do a Dunn and Bradstreet search on the supplier to make sure it’s stable. Find out its client base and the spread of business across the client base. How much of its business is with its biggest client? This is important for two reasons. One, if too much of its business relies on one account, you could take a backseat to that customer. And two, if something happens to this big client, the supplier — and consequently your exhibit program — could be in big trouble.

Also, ask the supplier for three accounts it’s lost and then talk to your counterpart at each of these companies about why the relationship ended. Based on the answers you get, you should have a pretty good idea whether this is the supplier for you.

eConnections: Isn’t it polite to contact the losing contenders to explain why they weren’t chosen?

Gilligan: Telling people they didn’t get a job can be uncomfortable, and though you may hesitate to contact them, you should. Your call is valuable to them, a learning experience. If you can’t handle contacting them, at least accept the losing bidders’ calls.

eConnections: How do you use the winning RFP to start or renew an exhibit house partnership?

Gilligan: Take it seriously from the beginning. If you provided accurate information, the supplier should be able to deliver everything you asked for and then some.

But remember, there’s a ramp-up period, and you need to stay involved in the process and be willing to meet in the middle.

Rich Gilligan has over 25 years of industry experience in the marketing and event management fields. His broad-based experience includes senior executive roles in the telecommunications and pharmaceutical industries. He currently holds the position of VP of marketing, TELUS International, a position he began in February 2013. Previously, Gilligan was global commodity expert, events and sponsorships for SAP, where he was responsible for the management of the global supplier base and the execution of contracts on several multi-million dollar event programs, including the largest event for SAP, SapphireNow. Gilligan is also a proven entrepreneur, having launched and managed his own marketing events firm, IDEA.

What do birthdays, promotions and holidays have in common? Food and lots of it. Add to that the occasional hump day celebration and annual cookie sales, and you have a virtual minefield of calories in your office. But you can be sociable without gaining weight at work. How?

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Life is complicated, and it’s stressful. Demands of the job, personal responsibilities and the people you surround yourself with are all vying for your time. You could try the proverbial to-do list, but that can only help so much. To really make the most of every day, you need to organize your life. How?

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Is your conference an expense or an investment?

Many organizations regard their conference as a necessary expense, one that serves to educate customers to be successful in using products or influences employees to do a better job. Having evaluated and measured a variety of conferences, we have found something very different.

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— Lena, exhibits manager

Invest wisely for future returns

Lena, with cash finally in hand, you probably want to start updating your exhibit right away. But don’t jump the gun. Spending your money on the right elements can make your exhibit more successful, and that may help you get additional funds in the future.

With this in mind, our readers say:

• Don’t throw out the baby with the bath water.
• Refurbish, then repackage.
• Do some “comparative shopping.”

Don’t throw out the baby with the bath water

Since your funds are limited, keep elements you can inexpensively update, and then you’ll have more money to spend on what needs to be replaced.

An exhibits manager details the steps to take.

“First, ask yourself what your primary objectives are with the exhibit and how you want the exhibit to accomplish them. Second, think of ways you can reconfigure and reuse the stuff you already have. By simply updating graphics, getting new laminate colors or purchasing new flooring, you can update an exhibit without spending a lot of money.”

Refurbish, then repackage

Instead of worrying about updating your entire exhibit, first, concentrate on certain aspects of it. Then, use some cash to make transporting the exhibit easier and cheaper.

Nicci Harrell, events coordinator at Siemens, explains how to do this.

“Refurbish the pieces you use most often and then address packaging and shipping. Sometimes, a new crate or crates designed for your most common shipment can make a huge difference in transportation costs. Keep in mind the safety of your pieces, space for miscellaneous pieces and the ease of packaging, unpacking, transportation and access.”

Do some “comparative shopping”

If you’re completely unsure where to begin your redo, studying other exhibits may give you a starting point.

An events manager subscribes to this philosophy.

“Whenever I participate in or go to a show, I take pictures of the exhibits I like and later review them to determine what caught my eye. Then, when I redesign my own exhibit, I have ideas of what I want to do — whether it’s a new fabric, a color that’s trending or something else. If you don’t have pictures like these, go to some event/exhibit websites for inspiration.”

When creativity kicks in

As an event/exhibit professional, you’re expected to be creative. But with a busy work schedule and focusing on the details of your job, you may find yourself neglecting your creative side. Do you know how to get your creative juices flowing again?

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Feel like you’re getting nowhere in your career? Tired of watching other people get all the promotions? You may be tempted to blame your career stall on some factor outside your control. But surprise! You may be sabotaging your career without knowing it. How can you “get out of our own way?”

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These days, it seems everyone is connected to one of the social media sites. But what may be OK on Facebook or Twitter usually isn’t something you’d want to post on LinkedIn. So, how do you use LinkedIn to your best advantage?

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It’s a fact of life in today’s business world: People who have jobs are often asked to take on the responsibilities of people who no longer work at their company. As a result, these employees feel overwhelmed and stressed out. But there are ways to get through everything that has to be done — and get ahead. How?

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Go to any book store, and you’ll find volumes on time management. Everyone seems to have a different system, each promising terrific results. But too often, time management is confused with “time tracking.” What’s the difference, and why does it matter?

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An annual corporate meeting is a staple in American businesses. It can be great to update everyone on organizational changes, to communicate a new direction the company is going in or just to recharge the troops. But too many times, the annual meeting is an event where key executives give speech after speech to a bored audience. How can you avoid this and create an annual meeting with long-lasting, positive results?

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by Ed Jones

You have heard it repeated that your exhibit staff accounts for roughly 80% of  your success as an exhibitor.  But what are the actual accomplishments that result from a well trained staff? These outcomes provide not only a measurement set but also a serve as planning guide for your staff training.

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— James, freelance designer

Maybe just a little effort on your part

James, without a budget, chances are you’ll either incorporate materials and elements that are too expensive, or you’ll be too conservative and leave out elements that are important to your client.

That’s why our readers say you should:

• Understand where your client’s coming from.
• Explain why a budget is essential.
• Play a little hardball.

Understand where your client’s coming from

Sometimes, a client and a designer can seem at cross-purposes: You want to design the best exhibit possible, and the client’s worried about the money.

An exhibits manager gives his insights into a client’s possible mindset and what you may be able to do about it.

“I think exhibitors are scared the cost may either limit the design (you won’t spend as much time with a $2,000 budget vs. a $200,000 budget), or you’ll try to use every single penny. In all honesty, it’s like applying a car-buying strategy to exhibit design. By telling the salesperson how much you have to spend, he’ll give you a car that meets or exceeds that price.

“There’s a level of trust an exhibitor must relinquish to the designer, and some people are scared to let go. Try to build that trust — if you can.”

Explain why a budget is essential

Considering the client’s possible mindset, an analogy or two may help him or her see why you need some numbers.

A designer provides an example.

“Would you expect a real estate agent to show you homes without telling that person your price range? Of course not, and I suspect your client wouldn’t either.

“Share this analogy with your client to clarify why it would be a waste of time for both of you for you to design an exhibit without some idea of what he or she has to spend. It’s as impossible for you to come up with the right kind of exhibit as it would be for a real estate agent to find someone’s dream home without a clue as to his or her budget.”

Play a little hardball

If you can’t use reason to get your client to see your point of view, you may need to be more firm and direct.

An anonymous reader believes you have to stand up for what you know is right.

“If you have a sense of the project’s scope, propose a budget range. If the client balks at it, walk away and spend your time more productively elsewhere. The easiest thing in the world is firing a client, especially if the client has so little faith in your integrity as a professional, he or she won’t share a budget.”

Recently, the economic downturn has caused some businesses to cut back on their exhibit greening efforts. But going green can actually save you money. Not sure how to proceed? Our handy infographic illustrates how to make eco-friendly changes during all stages of exhibiting. Feel free to download it and keep it as a greening reference all year long.

Graphic design ©2013 Brendan Dooley, MC2

How do you communicate with people coming to your event or potential attendees? Emails? Social media? Well, now there’s another way you can keep these people informed — with a website designed for mobile devices. With the website, there are three types of apps for you to consider — native, web-based and hybrid mobile. How do they work, and how do decide which to use?

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Work hard. Volunteer for projects. Be a team member. For most people, these seem to be the keys to success. But to get ahead, you don’t have to be just exceeding capable and put in the long hours; you must be someone people want to work with. How do you become one of these supremely likeable souls?

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