How to Get Better Clients w/ Daniel Priestley (Fireside Chat)
With Daniel Priestley, Chris Do reveals how to attract higher-quality clients by becoming a more valuable creative yourself.
Chris Do
Founder, The Futur™ · February 2, 2025
You Don’t Want More Clients
Most creative professionals think the solution to their problems is more clients. More projects, more logos, more websites, more retainers. They believe a fuller calendar will lead to a healthier business and a happier life.
They are wrong.
“I don't think you want more clients,” says The Futur’s founder, Chris Do. “I think you want higher quality clients. What you want is more opportunities to decide.”
This is a critical distinction. The goal is not to fill your capacity. The goal is to generate so much demand that you have the power to choose. This is the foundation of confidence, influence, and profitability.
In a fireside chat with author and entrepreneur Daniel Priestley, Do dismantled the common myths that keep creatives stuck in a cycle of chasing low-value work. The conversation revealed that attracting better clients isn’t about being a better designer or a better writer. It’s about becoming a better, more attractive business owner.
Author David C. Baker, in his book The Business of Expertise, provides a formula for this. He argues that confidence is a simple equation: opportunities divided by capacity. When opportunities exceed capacity, you are in a position of power. You become less desperate. You negotiate from strength.
“If you have two clients and you have capacity for four, you're going to be more desperate in that sales call than you would otherwise,” Do explains. “But here's why I'm so cocky and confident: because at the very early stages of my professional career, more people wanted me than I was available.”
This isn’t an accident of luck. It's a result of a deliberate strategy to increase awareness and generate demand. To get better clients, you must first become a more desirable partner. You must transform yourself, your story, and your business.
The Architecture of Opportunity
Opportunity rarely announces itself. More often, it appears as an inconvenience, a strange request, or a task you’d rather avoid.
Looking back at his career, Do identifies three pivotal, and largely accidental, moments that shaped his trajectory. Each one began not with a grand plan, but with a reluctant “yes” to an unexpected offer.
The first breakthrough came when an instructor asked to include his student work on the CD-ROM for a new version of Adobe After Effects. At just 22, Do was initially resistant. “They give you a dollar to buy the rights of your work,” he recalls. “I was a little offended.” But he agreed. That CD-ROM shipped globally, placing his work in front of countless potential clients just as the motion design industry was exploding in Los Angeles. It generated a flood of leads before he even knew what a lead was.
The lesson is simple. “Sometimes Opportunity Knocks, but it doesn't announce itself as an opportunity,” Do says. “Oftentimes it looks like a pain in the ass.”
The second turning point was hiring a business coach. A friend mentioned how much his business had grown thanks to a coach named Kier. Despite feeling awkward asking for the contact, Do pursued it. That decision led to hiring not only a coach he would work with weekly for 13 years, but also a CPA and a financial planner. It professionalized his entire operation.
“People often ask me like how do you know how to do business? It's not from art school, that's for sure,” Do admits. “A lot of it is because Kier...would say, ‘Hey dummy, why don't you do it this way?’”
The third and most impactful shift came from a former classmate, a flamboyant character in an orange prison jumpsuit who suggested they make YouTube videos together in 2013.
Do’s initial reaction was revulsion. “Why would anyone want to do that?” he thought. At the time, YouTube was filled with what he considered clout-chasing amateurs. “The last thing I wanted to do was to create content that would then put me in that category as a YouTuber. That was offensive to me.”
Yet, he agreed. This decision completely changed the course of his life and business, transforming him from a service provider into an educator with a global reach. The very thing he resisted became his greatest asset.
The Currency of Attention
For years, Do created content without a viral hit. Videos would garner a few hundred or a few thousand views. The content was niche: teaching business concepts to creatives. “I never thought anybody would show up for that,” he says.
Then, a community member pointed out a new YouTube feature called Shorts and suggested his content would be a perfect fit. Do’s team started cutting and releasing short-form videos. After a string of duds, one video exploded.
It was a clip of him explaining his pricing for a logo. He saw it hit 300,000 views, then 480,000, then 750,000 in a matter of hours. “It just goes bananas,” Do remembers. “This has never happened to me before.”
To date, that video has over 40 million views. It became his calling card. “It's the number one thing that people yell at me in the street for. ‘You're that guy... the logo pricing guy.’”
But the real lesson isn't in going viral. It's in what you do next. Priestley calls this **going back to the well**. “If you put a bucket down a well and it comes up with water, go back to the well,” he advises.
Do’s team noticed that another user had taken the same viral clip, zoomed in to remove the letterboxing, and also gained massive traction. So they did the same thing. The re-cropped version of the same video earned another 22 million views.
When you have a hit, you don't do something different. You do more of the same. You dissect it, repurpose it, and stretch it across every platform possible. This is how you manufacture demand, a skill Do further outlines in his workshop on generating repeat sales.
This deluge of attention creates a powerful dynamic. Before he built a public profile, Do’s design agency, Blind, relied on a passive, highly-vetted sales process. His team would filter inquiries so he only spoke with qualified prospects.
- Budget confirmed: If the budget was below their minimum, the conversation stopped.
- Real project: If it was speculative, they passed.
- Limited competition: If the client was talking to more than five agencies, Blind would bow out.
But as his YouTube channel grew, a new type of client emerged: the fan. One day, his team brought him a fully vetted prospect who was also a huge fan of his channel. Do was nervous. “They know all the techniques I'm going to do,” he thought, preparing for a strategic battle.
The call began. His executive producer made the introduction, and then the clients took over. “They talked and talked and just sold themselves the entire time,” Do laughs. “‘We love Chris, everything's amazing, here's all our money and here's the most money we can give to you.’”
His team was stunned. The clients knew his playbook so well they executed it on themselves. This illustrates a profound truth for creative professionals: sharing your secrets doesn't make you vulnerable. It makes you valuable. It pre-sells your expertise and turns prospects into advocates before the first conversation even begins, a concept he explores in his masterclass with Daniel Priestley on personal branding.
The Label Defines the Value
“You want better clients, you have to be better,” Do states plainly. But what does “better” mean? For most creatives, the answer is a higher quality of work. For Do, that’s a trap.
Priestley agrees. “In my experience of working with a lot of creatives... the quality of their work is not the problem normally,” he says. “What's difficult is they make it so hard for you to learn about that.”
The true lever for attracting better clients is not craft. It's packaging and positioning. As brand strategist Michael Margolis puts it, a product or service without a story is a commodity.
Do demonstrates this with two bottles of water on stage. One is a glass bottle of San Pellegrino with an elegant label. The other is a generic, unlabeled plastic bottle. Which one is worth more? The answer is obvious. The San Pellegrino.
“It just looks better,” Do says. “More thoughtful design was put into this... We put a lot of trust into things that have almost no meaning.” The generic bottle, stripped of its story, is worth less than nothing. It’s suspicious.
The label is the story. The story is the value. Most creatives compete on the quality of the water, a subjective measure. “You can get 10 British designers in a room and say ‘which is better?’ and they argue all night long because there's no universal standard,” Do explains. A better strategy is to compete on the quality of the story, the one that speaks to a client’s soul, pain points, and desires.
The late fashion designer Virgil Abloh famously illustrated this with a crumpled piece of paper. He explained there are two ways to make it more valuable. You can change the material, making it out of platinum. Or, you can change the frame: place it on a white pedestal in a gallery under a spotlight. “That piece of paper is worth a lot now,” Abloh said.
One path requires immense resources. The other requires imagination. Creatives consistently undervalue the power of their imagination to shape perception.
You have to become more attractive as a service provider. The question to ask is not “How can I improve my work?” but “What will make me more attractive?”
- Tell a better story: Frame your history and accomplishments in a compelling narrative. Why haven’t you talked about your biggest wins?
- Package your service: How do you show up? Does your presentation match the quality of your deliverables?
- Solve a worthy problem: Reconnect with the heart of creativity, which, as defined by Nobel laureate Herbert Simon, is to devise a course of action to move from an existing condition to an improved one.
When you level up, when you invest in your own attractiveness through storytelling and positioning, higher-profile clients will find you.
The Science of Client Selection
As you become more attractive, the dynamic shifts from being chosen to choosing. This requires a new skill: learning to say no.
Value pricing expert Ronald J. Baker argues that professionals must be **discriminatory sellers of services**. We cannot, and should not, serve everyone.
“We're professional people,” Do says. “We need to discriminate against clients. We have to have standards.”
Most business owners operate without any standards at all. They take any client who can fog a mirror and sign a check. “That makes you a very promiscuous business owner,” Do warns.
Just as you have standards in your personal life, you must establish them in your business. Have you ever sat down and defined the conditions under which you will accept a client? This is not an optional exercise. It is essential for protecting your time, energy, and profitability. A clear set of rules acts as a filter, ensuring you only engage with prospects who respect your value and are a genuine fit for your expertise, a process detailed in this business bootcamp on attracting ideal clients.
Priestley adds a powerful data-driven lens to this. Within any audience, value is not distributed evenly.
- The top 1% of your audience holds 15% of the total budget.
- The next 9% hold 45% of the budget.
- The bottom 90% share the remaining 40% of the budget.
This means the top 10% of your potential market controls 60% of the spending power. Your primary job is to identify and attract that top 10%, and more specifically, that top 1%. “It's a superpower for your business if you can have a way of figuring that out,” Priestley notes. Systems like quizzes and smart intake forms can help segment your audience and automatically flag these high-value prospects.
This is why Do’s agency, Blind, had such a rigorous process. They weren’t being difficult. They were systematically filtering for the 1%.
The Game of Raising Prices
The most direct way to signal your value is through price. Yet, for many creatives, this is the most terrifying part of business. It’s a fear often amplified by environment.
Priestley points out the challenging economic climate in the UK, where stagnant growth for 15 years has created a pervasive scarcity mindset. “Everyone is squeezed,” he notes, and the idea of raising prices feels impossible.
Do offers a different perspective, one he calls the game of finance and value.
“I deliberately chose that word game because for me, it's just a game,” he says. “I just keep asking myself, how ridiculous would it be for me to just charge this outrageous amount of money? Just a stupid amount. Who would ever say yes to that? Let's try.”
This is not about being greedy. This is about understanding that **price is positioning**. A low price positions you as a discount, commodity option. A high price signals expertise, confidence, and premium quality. You attract the type of client you price for.
He shares the story of his mentee, Ben Burns. When they first started working together, Burns was earning less than minimum wage for the hours he was putting in. After coaching, Burns started to gain the confidence to charge more. He eventually landed an $18,000 logo project. Do, his mentor, felt an immediate jolt of competition. “It's on like Donkey Kong right now,” he thought, and immediately set his own sights higher.
Later, with Burns working for him, a lead came in from a mid-sized telecom company for a logo. Just a logo, no brand guidelines or system. Do played his favorite pricing game with the team: what should we charge?
In his mind, he thought $70,000 would be an outrageous ask. Before he could speak, Burns looked at him and said, “Chris, I'm thinking 110.”
“That's what I was thinking, Ben. Good on you, bro,” Do replied. They quoted $110,000, and the client said yes. The game worked. Learning to have this conversation is a critical skill, one Do explores in depth with pricing expert Blair Enns in this masterclass on talking about budget.
Every “yes” to an outrageous price sets a new benchmark. It’s like a record home sale in a neighborhood; it re-calibrates the value for everyone. The question is, why can't you be the one to set that new standard?
As Priestley challenged the audience, you must have the guts to name your crazy number. Most of the time, they will say no. It’s designed not to work. But every once in a while, they say yes. And that one “yes” changes everything.
Design the Game, Not Just the Work
The ability to command high prices and attract premium clients is not the end goal. It is the means to an end: designing a business and a life that you enjoy.
For Do, this freedom was earned. “From the time I was 22 until like 2018, I worked like a dog,” he confesses. For the first five years of his business, from 1995 to 2000, he didn’t take a single vacation. It was pure grind, learning the business through trial and error.
But that hard work, coupled with lucrative projects like animating car commercial titles for $10,000 a pop, allowed him to build a financial foundation. He and his wife bought real estate and built security. This security is what fueled the confidence to play the pricing game, to transition from services to products, and to build The Futur.
The journey is powered by mindset. He had to shed the negative self-talk that plagues so many people. Priestley describes it as a cultural difference, the British tendency to bond over complaints versus the American tendency to bond over optimism. “That negative talk starts to wear you down and you start to believe this is your new reality,” Priestley warns.
Do actively chose a different path. “I keep thinking like, things are always going to work out, I'm always going to be paid more,” he says. “And so I start practicing a lot of positive self-talk, and I'm the product of that, my own design here.”
Whatever you focus on, you get more of. If you focus on scarcity, you find more of it. If you focus on problems, they multiply. But if you focus on opportunity, on value, on what’s possible, you begin to create a reality where clients are better, budgets are bigger, and work is more rewarding.
Change the label. Tell a better story. Set your standards. And have the courage to name a price so crazy it just might work.
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“You want better clients, you have to be better.”
— Chris Do
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