Takeaways from Elsa Carenbauer, owner of No Bones Left

Elsa is an independent designer, illustrator and artist under the alias “No Bones Left.” She specializes on graphic design, murals, and illustrations. In her free time, she creates ephemeral stained glass pieces and practices Kung Fu. She has been in the scene for almost two decades and her past clients have included: The Denver Museum of Nature & Science, Ecotech Institute, Sci Recovery Project, Macaroni Grill, Essette, Instagram, Sensible Treats, Danone, Comcast, Shaolin Hung Mei Kung Fu and Winter Park. Her latest project has been working on an installation-based room for Meow Wolf. She lives and works in Denver with her partner and is a mama to two pups, Bean and Ash.

I was fortunate to have the opportunity to ask her the following questions. There are some great insights and take-aways for fellow designers and artists.

EM: Do you have any advice for people who are considering freelance design?

EC: One of the biggest challenges I have seen people face while starting and maintaining a freelance business is keeping in mind that it is a lot of work on the business end. Be prepared to nurture your business as much as you do your designs.

EM: When you have a new client, what does your typical design process consist of?

EC: A pretty standard new client will be ready to start the proposal process, so they want to get to know my work background and see some prices. I tend to either have a kick off call or respond to the details of their emails, depending on how prepared they are to begin work. During this time, I ask a lot of questions to determine their background working with designers, if they already have a visual idea in mind, if they have established brand standards, etc. This way I can estimate time appropriately with things in mind like if there will be a curve for education or discovery, or if they are committed to a direction already. I work the details into a proposal and then the design process is ready to start as soon as a proposal is signed.

EM: How do you stay on top of deadlines and communication with your clients?

EC: I live and die by my Google calendar and email communications. I usually work out a timeline in the proposal phase, so I have my work schedule outlined and in writing in a calendar and in a document.

EM: Do you utilize contracts? If so, have you had anyone violate it, and how do you approach it? If not, how have you dealt with clients who are unprofessional?

EC: Yes, a contract is very important. I don’t begin a project without one, even if it’s a returning client. I haven’t had to deal with any violations in terms of payment, which I think is in large part due to outlining expectations before starting a project. The main things I have to edit in the middle of a project concern revisions. I make sure I have those written out and if we go over, I send an email to the client to let them know we are going to have a change of scope and go from there. The same goes for any other types of changes to scope or schedule. Again, I haven’t dealt with a ton of unprofessional clientele. I attribute that to being studious about the proposal process and signing of a contract. If someone isn’t ready to start a project, you can usually see red flags at this time or communications will end before starting on a project.

EM: What made you want to become a graphic designer?

EC: I got into graphic design in college, changing from a fine art background to something that should be sustainable as a career. But over time, I learned design is actually where I belong in the art world. I am a problem solver, and I like to be able to focus on a task. One of the best parts about being a graphic designer is gaining access to the inner workings of businesses/organizations that I wouldn’t have exposure to unless I was an employee. It’s kind of like getting paid for continuing education in a lot of different fields. This is what has kept me going and passionate about design for 16-17 years in the business!

As a freelance designer, Elsa’s annual income varies depending on how many clients and hours of work she takes on. She is great about self-marketing and has been in the field for 17 years. Throughout those years, she has built up her clientele and outreach, and earned the ability to support herself solely as a designer. The average annual income for freelance designers ranges from $50,000 - $58,000, but again, this is only possible through constant dedication. Elsa is able to decide which “benefits” she wants on her own, but she has to pay for them out-of-pocket. She works from her house, and is the only face behind No Bones Left. This allows her a lot more creative liberty without the pressures of working under an art director or on a team. Elsa is also able to have a more flexible schedule and work her hours around other hobbies or projects. A downside of freelancing is not being afforded a consistent income. This makes it harder to budget for all your monthly expenses, as well as equipment and software required for your profession.

Elsa is an example of perseverance in the design community. A lot of fresh graduates have to face the competitive local design world of Denver. Especially during the pandemic, a lot of small studios and independent designers have lost their clients, and forced to make sacrifices. It’s a tight-knit community with limited options. However, that also makes it easy to network and get a good understanding of the work environments available to employees. Most designers I know are also freelancers, but their income is usually not enough to support themselves. This is why Elsa serves as an inspiration to other designers in Denver. I know I keep saying it, but I can’t emphasize enough that success like hers doesn’t come immediately after you graduate. Everyone has to endure a trial-and-error phase. You might be hired for a job, or follow down an avenue of design, such as UI/UX or packaging, but it’s not the right fit. During these times, you’ll pick up new skills and develop your overall professionalism, and someday, you’ll find your passion.