freelance designer's guide

Freelance Designer’s Guide. Copyright © 2011 by Alan Gonzalez-Suman of [//HB CREATIVE SF>.Forward copyright © by Alan Gonzalez-Suman. All rights reserved.

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Designed and Edited by Alan Gonzalez-Suman of [//HB CREATIVE SF>

Front Cover Artwork was created with Adobe Illustrator CS5and a Wacom Intuos 3 Tablet and illustrated by Alan Gonzalez-Suman

Graphic Designer’s GuideChapter Openers and Hand-drawn typography wass created and illustrated

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Printed on Recycled White Paper.

HB CREATIVE SF RAW DESIGN[// >[//HB CREATIVE SF Raw Design We set the standard for Creativity

A helping hand for freelance graphic designers

HB CREATIVE SF RAW DESIGN[// >[//HB CREATIVE SF Raw Design We set the standard for Creativity

Table of Contents

Project Introduction

Problem Statement

Initial Research Summary

Value/Relevance/Societal Impact Statement

Project Scope

Research Methodology

Surveys

Experts

Design Drivers: User Analysis

Product Assessment Matrix

Functional Flow Diagram

Design Methodology

Influence Mapping

Ideation

Comps, Simulations, Models, Prototypes

ShoeBiz Design Guide: Final Comp

Bibliography

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7

New graphic designers and graduating students of San Francisco State University will be left scratching their heads wondering how to approach a client, the best approach to working with a new client, or returning client, how to bid for a project, how to charge a client, and finally how to get paid for their work and time put into a project, fairly and on time.

I have been drawing since I was a kid and have been studying graphic design since high school. Most students that are studying graphic design that I have talked with go into the subject with ambitions of running and designing their own t-shirt company, magazine, design firm or with plans on working from home as a freelance graphic designer.

The entire time I have been in school for design, I have also made it a requirement for myself to be working in my desired field of design out of school. During my quest of soaking up all I possibly can from design, I have had the opportunity to work and intern for several companies that have helped guide my career path as a freelance designer.

I hope to help guide and pave the road for those designers looking to doing the same as myself and working for themselves and depending on their very own talents and skills.

Project Introduction

I have noticed all the years that I have been in school, both public and private, for fine art, web and graphic design, not one school has ever fully covered the subject of working independently as a freelance graphic designer. I believe professional practice in a creative field should be implemented and fully covered as part of the full experience as what it is to being a graphic designer. Instead, the subject of being a successful freelance graphic designer and running one’s own business is left as dark matter, only to be explored by those that are willing to go out of their way and go the extra mile of being a successful independent designer.

Congratulations to the graduating students of SFSU, now all you need is a job. Easy right? There is plenty of competition in the field of design, especially in the city of San Francisco. Not only are you competing with alumni from SFSU, but you are also competing with recent graduates from The Academy of Art, The Art Institute, FIDM, The University of San Francisco, The California College of Arts and others. You don’t have much of a choice in this city, either working for someone or working for yourself. Wouldn’t it be nice to work for yourself, with your own hours, clients and projects. It can be done, with a little bit of research and implementation within your own business practice.

Although students of the Visual Communications Major at San Francisco State University are equipped with appropriate design knowledge, research and presentation skills, most students lack the proper knowledge and skill on meeting with a client, defining deliverables , quoting a job, delivering a job and getting paid. This knowledge and skill needs to be obtainable in order to perform successfully in the professional world as a freelance graphic designer.

11

Initial Research Summary

Students of the Visual Communications program in the Design and Industry department of San Francisco State University are expected to complete the major within a two-year time span, once general education is covered and completed. On the other hand, the same major offered within a private institution covers the major program to be reviewed and mastered within the entire course of time expected to graduate, which is an expected 3.5 – 4 year program.

My preliminary research drew from interviews with alumni, professionals in the field of design, including graphic design, web design and photography, literature for facts and statistics and first and second accounts for personal motivation.

As graduation nears and the pressure of finding a job in a competitive market and city, I have decided to become an expert myself in the subject I would like to master and work and depend on myself for. I would like to be confident in myself as a freelance designer, getting my own clientele, controlling my own hours and projects, smoothly and successfully. Entering the world of freelance graphic design

Problem Statement:Although students of the Visual Communications Major at San Francisco State University are equipped with the appropriate design knowledge, research and presentation skills, most students lack the proper knowledge and skill on meeting a client, quoting a job, delivering a job and getting paid for a job. This knowledge and skill needs to be obtainable in order to perform successfully in the professional world as a freelance graphic designer.

After speaking with some faculty members of the Design and Industry department of San Francisco State University, I have a clearer understanding to why the subject of professional practice and working as a freelance designer is not implemented or covered in the curriculum as part of the department. Two of the biggest determinants to why professional practice is not implemented or covered in the major is time and money. It is obvious that money and budget cuts will always be a large factor to why classes, subjects and majors are either downsized or are now deceased. Besides money being a large determinant of dismissing the subject of professional practice in the design field, time plays just as much, or even more so, as to part of the determinant.

12

I’ve interned for several different designers and design firms, where I have had the opportunity to deal with clients, take orders, give price estimates, review contracts, develop sketches, present my work, both visually and verbally, take and accept criticism, present my final project/product and lastly, receive payment. Currently, I have been building my own clientele and am still new to the freelance world, but am constantly learning from my own mistakes and others in the same competitive game of graphic design.

As a freelance graphic designer, I knew I lacked plenty of professional practice that I would have to learn on my own. I thought it would be helpful for me to see what other students at State, currently in the Design and Industry Department and already graduated, thought about the current Design & Industry department and curriculum. Do we, as graduates, lack the proper business knowledge and skill entering the professional world graphic design? I have also talked to several other students at different schools to compare our curriculums, not only to see differences about the curriculums, but to also see what graduates of the DAI department were up against from graduates of other schools.

I myself have experienced a struggle with the lack of proper knowledge and skill in the professional world of design.For most entry-level graphic design positions, a bachelor’s degree is usually required and some, if not most, designers freelance – full-time or part-time in addition to holding a salary job. In 2006, According to the Bureau of labor statistics, 32% of all graphic designers and illustrators are self-employed or freelance. In 2008, there are 286,100 graphic designers currently employed, either working for a company or for themselves. The employment rate for graphic designers is expected to grow 10%, from 2006-2016 as the demand for design continues to grow from advertisers, publishers and graphic design firms.

I personally have been working as a graphic designer for several years now, for several different companies and more recently, independently as a freelance graphic designer and illustrator. I have had to learn my entire professional practice experience outside of school with my expectations to becoming a successful graphic designer as my motivation. Luckily, I have been fortunate enough to experience the professional world of graphic design interning for several companies and designers to pursue better opportunities for myself, different experiences and building confidence in myself and a stronger portfolio of work.

“32% of all graphic designers and illustrators are self-employed or freelance.”

13

Internships and entry-level jobs will give you the best professional world experience right out of college, but how are SFSU graduates to survive with so much competition, especially in just the bay area alone; SFU, The Academy of Art, CCA, The Art Institute, FIDM, SJSU and many other schools are spitting out creative people all over the seven by seven land of opportunity. It only makes sense to why the percentage rate of freelance graphic designers is so high, but does not make sense as to why professional practice is not implemented in the curriculum of graphic design or design and art in general.

According to the Guardian of UK, in 2009-2010, the biggest courses of study were Creative Arts and Design, along with some of the lowest employment rates. As more Creative Arts and Design graduates are pumped out of schools and flood the streets in a jobless arena, they experience the pressures of finding work to not only afford living expenses, but to also manage to pay off debt they may have built up from going to school. This becomes a driving force for freelance graphic designers to be aggressive, work for themselves, run their own business and create their own clientele. Graphic designers are forced to learn the business side of things and recreate themselves.

It doesn’t make sense that freelance professional practice is not implemented or required as part of learning the craft of graphic design in schools. Students are pumped out of SFSU’s “two-year” DAI program, clueless to what to expect in the real world of graphic design. Students attending private institutions are bred to run a professional independent graphic design business right out of school.

Alumni of the DAI department agreed that the department needed to incorporate “real world” professional practice. As of now, there are several courses available in the Business department, students could take to learn about contract writing and copyrights, if they were to minor in business. As of now, even the business department is impacted. Plus this would no longer make the major a “two-year” degree now, would it? Or better yet, the “two-year” degree isn’t really “two-years” is it? Due to impacted classes and budget cuts, it makes getting the required classes difficult to get and only pushing a graduation date further away. The already impacted department of DAI is not only difficult to get classes in, but even more so when classes are constantly being cut. This project is going to be a long winding road, but I am ready for the challenge.

“Our graduates leave our school as more well-rounded individuals.” – Josh Singer

15

Value/Relevance/Societal Impact Statement

Relevance:The relevance of equipping Visual Communications students or designers in general with proper professional practice and freelance knowledge is to help them find work and to create work for themselves and become independent. With the current state of high unemployment rates and an unsteady job market, it is relevant knowledge for the creative community to obtain to be able to survive on their own with a current job or as a full-time freelance designer. This would in turn create more jobs and also help reduce the unemployment rate. As stated in my preliminary research, 32% of all graphic designers work as freelance graphic designer, either full-time or additionally from a salary job.

Societal Impact Statement:The more students or professionals that can perform successfully and independently as freelance graphic designers in the community and in the professional world of design will impact society as a whole. This will benefit the designer to help create work for themselves, but could also create new job markets for others. This will in turn help build their portfolios, credibility and confidence in their work. This will create new job opportunities and help lower the unemployment rate.

Problem Statement:Although students of the Visual Communications Major at San Francisco State University are equipped with the appropriate design knowledge, research and presentation skills, most students lack the proper knowledge and skill on meeting a client, quoting a job, delivering a job and getting paid for a job. This knowledge and skill needs to be obtainable in order to perform successfully in the professional world as a freelance graphic designer.

Value:This problem is valuable to not only me, but every student entering the world of graphic design as a freelance designer. This will allow not only the students of the Design and Industry department of San Francisco State University, but every designer new to the freelance world of design. I am thinking of this project as a head start or a building block to help the graphic design student break into the world of independent contracting. This will allow the opportunity for recent graduates or any designer in general to help run a successful business as a freelance graphic designer. This will give young professionals another outlet to design work outside of school or outside of work.

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In Scope:In this project, I will be looking at the Design and Industry Department curriculum of San Francisco State University to look into resolving the problem of lack of education toward professional practice as a freelance graphic designer. My scope will compare and contrast several different views of graphic design practices and curriculums. This project is intended to equip recent graduates and/or new designers with proper knowledge and skill to be able to perform successfully as a freelance graphic designers. I am looking to review how to define a client problem, how to approach a solution, design for the intended client, resolve deliverables, bid for a project and how to get paid for a project. All other departments are out of scope. If possible, I would like to try and implement professional practice within the curriculum or offer designers a different outlet to help the designer work independently. This would possibly include or cover communication skills, planning skills, generating leads, looking at overall specs and marketing strategies.

19

Out of Scope:Although I would like to be proficient and cover all aspects of freelancing, I will not cover everything do to the time restraint of this project. I will briefly cover some aspects of invoicing, but can not cover all needed to be proficient in the subject. I will not cover contracts, do to time, but also because not all projects and clients will be the same, making it difficult to cover a universal application to contract writing. Terms and conditions are another subject that would also be difficult to cover within the time span for this project and is also difficult to design for universal use for graphic design projects. As far as looking to changing the Visual Communications curriculum, I understand more research will be needed to implement a change, but I would like for it to be reviewed or possibly implemented as part of a class or introduced as a requirement class for graphic designers. Because the change in the curriculum of visual communications will not happen, I am delivering a designer’s guide that could be reviewed and implemented independently for those in the graphic design field looking to work independently.

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Research Methodology

• Websites/Blogs

o Consisting of Information that will address my

problem or help guide me in the route of solving

my problem

o Influence for solution and design

• Interviews

o Professionals in the field of Graphic Design

o My Experts

o Teachers at SFSU

o The Chair of the department of DAI

(Ricardo Gomez)

o Teachers of other Schools

o Students both in school and graduated

o Students from other schools

• Surveys/Forms

— Sample Questions

o Do you feel you are properly equipped with

Freelance Design Practices?

o Are you a current or graduated student of the

Design and Industry Department of San

Francisco State University?

o Have you dealt with your own personal clients?

o Have you dealt with contracts, invoices?

o Do you know how to present your work, both

visually and verbally?

o Do you know how to properly bid for a project?

o Do you know proper professional interaction

with a client?

o Do you keep track of your work (time, duration,

tasks, dates, updates)

o Have you interned or worked in the field of

graphic design?

o Do you plan to work for yourself or a company?

o Do you know how to market yourself, find clients

and maintain a relationship with clients?

o Do you know how to bill a client?

o Did you learn anything about Freelancing as a

designer in school?

o Would it be beneficial for you to learn

professional practice for graphic design in school

(Marketing yourself, finding clients, meeting with

a client, presenting your work, creating invoices,

billing and receiving payment)?

o Would you like to see the above incorporated

into the curriculum of Visual Communications in

your school?

o What do I want to learn?

• Websites/Blogs



my problem


• Interviews


o My Experts

o Teachers at SFSU


(Ricardo Gomez)




• Surveys/Forms













with a client?




graphic design?






designer in school?








your school?


22

• Websites/Blogs



my problem


• Interviews


o My Experts

o Teachers at SFSU


(Ricardo Gomez)




• Surveys/Forms













with a client?




graphic design?






designer in school?








your school?


o What do you feel least confident about

freelancing?

o What are your strengths and weaknesses as a

freelance designer?

o How do I make it accessible for student to gain

proper business knowledge and guidance to

succeed as a freelance designer?

o This should be a survey for a Professional

Freelance Designer that invoices clients.

Use experts in the design world

What is the anatomy of an invoicing

How often do you invoice a client, by the

job, weekly, monthly?

Do you keep track of hours, do you list

deliverables, do you keep roles, material

costs, travel costs, updates

• Use experts –

Experienced Professionals.

Get into the research, paper based, web-

based, how, why do you invoice, what

works, what happens when a client

doesn’t pay, late fees, how do you get

people to pay.

Two weeks to due research; what is going

to help me with my ideation, I have to

come up with my goals.

• What will be more relevant to me

in my problem?

• It needs to be something of

substance.

• From a scale from 1-10 how

relevant is it for you to know

invoicing.

o Who is my target audience?

(Who am I trying to reach?)

o How do you publish a portfolio?

• Observing

o I would like to talk with students/professionals

and see how they interact with a “client”?

o How they present themselves, how they bill, how

they interact, how they deal with a non-payment,

how they invoice.


freelancing?


freelance designer?













• Use experts –






people to pay.





in my problem?


substance.



invoicing.




• Observing





how they invoice.

23


freelancing?


freelance designer?













• Use experts –






people to pay.





in my problem?


substance.



invoicing.




• Observing





how they invoice.

25

1. Have you ever done any freelance work before as a graphic designer?a. Nob. A couple times beforec. Sometimes (A couple projects a month)d. Often (Several projects a month)e. Full-Time (Freelance Designer)

2. If you answered No to the question above, why not? (Please check all that apply)a. Time issue (School or work)b. Lack of professional practice knowledge to run a successful business independentlyc. Lack of skill level to be able to execute jobsd. Lack of Confidencee. Never tried to get freelance work

3. When billing a client, do you use an invoice for projects?a. Nob. Sometimesc. Yesd. What is an invoice?

Survey for Student/New Graphic Designers

a.

84%

88%

12%4%

25%

8% 2%

b. c. d. e.

a. b. c. d. e.

a. b. c. d.

100% 92% 98%

90%

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Survey for Student/New Graphic Designers

4. How do you charge clients? (Please Check all that apply)a. Cashb. Checkc. Wire/Bank Transferd. Paypale. Trade for goods and/or services

5. When a project is completed, and payment is late or has not been received, how do you deal with it?(Please Check all that apply)a. I have never freelancedb. Never Happensc. Charge a Late Fee (Stated in the Terms & Conditions)d. Bug the cliente. Other

6. Have you learned any professional practice knowledge to be able to freelance as a graphic designer, if so where?a. No, neverb. In schoolc. On my own (Internet, Books, Friends, ect.)d. Work/Internships

84%

2%b.a. c. d.

a. b. c. d. e.

a. b. c. d. e.

65%88%

60%12%

94%

77%100%

72%15% 11%

27

Survey for Professional Designers

1. How often do you freelance as a graphic designer?a. Neverb. Not very often (A couple jobs here and there)c. Sometimes (A couple jobs a month)d. Often (Several projects a month)e. Full-Time (Freelance Designer)

2. How do you charge clients?

3. What do you include in your invoice?

4. How do you accept payment?

5. Why do you recommend working this way?

Note: The answers for this survey could be found on the following pages, laid out in a matrix with a breakdown of every question by professionals in the field.

28

Yael Millar, of Dieline Yes Yes Project YesWire Bank Transfers (addedfee), Paypal (added fee) or

CheckYes Yes

This works for me. It spreads the risk yet gives the client (who may be a first time client in manycases) the option of not paying everything at once to an unknown designer / studio. It’s a pretty fair

process. The only added advice is that even if a client has ‘proven’ themselves to be trustworthyby having paid your deposit and even subsequent payments, you must not continue to providework into future phases of a project before getting payments as per the signed agreement / fee

schedule. I have learned this the hard way. Trust me – it’s worth swallowing your pride andovercoming any fear of confrontation and not moving forward on a project until you get payment as

per your mutual agreed-upon contract. Many unexpected things can come up – even personalemergencies or as we now know – catastrophic economic upheavals – that can upend even a

trustworthy and fair client’s willingness or ability to pay you.

Antonio Carusone, of AisleOne Yes Yes Hourly Yes Check Yes Yes

Charging hourly seems to yield a more realistic payment over say a flat rate, unless of course youwork less than the total flat rate, which almost never happens. Also it’s a good idea to ask for a

percentage of the payment up front just in case the client decides to bail on you. And cheques areeasy to deal with and are more professional than asking for cash.

Chris Spooner, of Spoon Graphics Yes YesEstimated Hourly Base and

Converted to an OverallProject Cost

Yes

Wire Bank Transfers (addedfee), FreshBooks invoice

application, integrated paymentsystem with Paypal (added fee)

or Check

Yes Yes

Working on a 50% deposit is definitely recommended, from a designer’s point of view it acts asboth protection and a deterrent against unscrupulous clients who may be tempted to skip

payment. I have yet to find a client who has any issue with an up front payment, with most beingmore than happy and even expecting to pay up front. From the client’s point of view this also helps

show how the designer values their service and work.

Steven Snell, of Vandelay Design Yes Yes Both Depends Paypal or Check Yes Yes

I recommend having some flexibility with accepting payment because clients have differentpreferences. I also recommend charging upfront, although as I mentioned I need more

consistency in the percentage. When I first started freelancing I got into some difficult situationsthat could have been avoiding by charging up front. I had one situation where I didn’t get paid forseveral hours of work and a few other situations where it would have been helpful to get more up

front to get more commitment and urgency from clients.

Alex Peterson, of Pixel Air Yes Yes Project Yes/Depends BACS, Check or Paypal (2%Commission) Yes Yes

I think it’s always good to give clients as many options when it comes to charging for projects. Andmost importantly you have to be as clear as possible to let then know exactly what they’re paying

for and in as much detail as possible so there are no nasty surprises or disagreements later.Payment options are more for my own convenience really but no harm in making your preference

known to the client.

Aaron Russell, of aaronrussell.co.uk Yes Yes Hourly or Monthly Yes Bank Transfer or Paypal Yes Yes

Clients come in all different shapes and sizes and there won’t be any one-size-fits-all approach. It’s part of my ethos with how I deal with clients to be as flexible and accommodating as I possiblycan be, and that includes how I take payment. It’s essential to protect yourself when dealing withnew clients – and I learnt that the hard way. But all my long term clients are fantastic and always

pay on time without issue, and I think that can party be put down to dealing with them withflexibility and understanding.

Michael Martin, of Pro Blog Design YesYes Including

Changes, Updates,Deliverable Changes

ProjectUsually a third, then collect another third at themilestone and then collect the rest at project

completionPaypal Yes Yes

I work mostly with bloggers and small business owners. Larger companies may be used toawkward, tedious billing processes, but I don’t want them and my clients don’t tend to either. A flatrate and payment in thirds makes things very simple, so the client (and myself!) know exactly whatto expect and when to expect it. Before we even begin, they can get ready to set aside money forthe second payment. I’ve never had any trouble getting paid on time this way (And I don’t go ontothe next stage of the project without being paid whatever was owed to this point. Great incentive to

pay on time!).

Jeff Fisher, of LogoMotives Yes Yes Both 35% - 50% Wire Transfer, Check or MoneyOrders Yes Yes

My methods have worked for me and my clientele for 30 years now. If a number of future clientsrequested other options they might be considered. I would recommend that others make use ofthe methods most effective in resulting in efficient and timely payments to their own business.

Leslie Tane, of Leslie Tane Design Yes Yes Project Both: 1/3 Upfront - 1/3 Approval - 1/3 Final or 50Upfront and 50 Final Cash, Credit Cards or Paypal Yes Yes

Working this way has developed over time, and I definitely recommend it. I’ve found that chargingby the project versus by the hour leaves much less room for confusion and misunderstandings.

There is a clause in my contracts (which I ALWAYS use) stating that additional work not coveredin the contract will be billed for separately and will not be commenced until the client gives

approval. That way I don’t get stuck doing a lot of extra work that’s not billable. Charging by thehour seems counter-intuitive to me, since you make less money if you work quickly and efficiently.I absolutely recommend getting the first payment up front. This really weeds out people who arenot serious about the work. I used to start on projects as soon as I got the verbal go ahead, but Idon’t do that anymore. Signing a contract and making an initial payment show that the client is

committed to the project. It’s amazing how many clients disappear between the “go ahead”conversation and the submission of the contract and payment. I don’t think it’s in bad faith, exactly,but I do think that clients sometimes don’t realize how much prep work, research, and forethoughtgo into the beginning of a project, so they don’t consider that you’re really “working” until they see

some comps.

Gino Orlandi, of You the Designer Yes Yes Project Yes Paypal Yes Yes PayPal allows me to being projects quicker and have access to funds faster, and the dowpaymentand requiring the final payment before final files are sent ensure you do not get cheated.

Brian Yerkes, of Brian Joseph Studios Yes Yes Project Yes Paypal or Credit Card Yes Yes

I would recommend requiring 50% up front because it asks the client to put commitment into theproject. At a certain point during the project, you are working over what the initial 50% will cover,so for the remainder of the project, you are then showing your commitment to the client, as youwork towards the final payment. This keeps the playing field level for both of you and provides a

nice basis for a working relationship.

Designer/Company Invoice includesProject Tasks

Invoice includesTerms andConditions

Charge Clients Hourly orby Project

Charge Clients 50% up front before aproject is started

Invoice Payment MethodsInclude:

Invoice includesdeliverables

Invoice FeeSchedule Reason for working this way

Freelance Designer : Work Ethic

29


CheckYes Yes











Yes



or Check

Yes Yes




















pay on time!).








some comps.













30


CheckYes Yes











Yes



or Check

Yes Yes




















pay on time!).








some comps.














CheckYes Yes











Yes



or Check

Yes Yes




















pay on time!).








some comps.













31


CheckYes Yes











Yes



or Check

Yes Yes




















pay on time!).








some comps.














CheckYes Yes











Yes



or Check

Yes Yes




















pay on time!).








some comps.













32

Anthony Zinni, of Positive Space Blog Yes Yes Project Yes, unless its a large project I charge 25% Paypal Yes Yes

I would recommend a pricing strategy similar to mine because the goal of it is to deliver work ofthe highest quality. After making sure to mitigate any potential risk, my billing processes are based

on mutually beneficial relationships with clients. They allow me to deliver the highest possiblequality and hopefully create some ROI for my clients.

Jacob Cass, of Just Creative Design Yes Yes Project Yes PayPal Yes Yes I would recommend working this way as there is less risk for you and the client and I wouldrecommend getting your clients to pay the PayPal fees as it sure does add up in the long run.

Lauren Krause, of Creative Curio Yes Yes Project Yes Check Yes Yes

It’s always best to have an initial down payment; it shows that the client is serious and it gives youincentive to take the project seriously, too. The down payment and milestone payments also helpoffset your costs while working (you’ll probably have to pay rent or buy food before the project is

finished!) and you get a reward for major accomplishments during the project.

Jonathan Selikoff, ofSelikoff+Company Yes Yes

Depends, but usually chargeclient a flat rate, per project

basis and with a definedproject scope.

Depending on the size of the project fee I willusually charge 33% to 50% Check or Paypal Yes Yes

I go with what seems to work for me. I’m a solo practitioner, which often can give people theimpression that I’m not very organized. I might not be, but I try to project a level of competence,and that includes having my contract and payment terms set up front. That being said, if a client

asked for some other option that sounded reasonable, I’d certainly be open.

Vivien Anayi, of Inspiration Bit Yes Yes Project 50% Check, Money Transfers,Paypal Yes Yes

I would recommend everyone to find what works best for them. I always try to accommodate everyclient I work with and find the payment option that’s mutually convenient. One piece of advice I

have for handling those clients who don’t pay on time: when preparing the invoice, after the totalcost add a line that mentions a certain discount (say 5%) that the client would get if the invoice is

paid by the due date, otherwise the client will have to pay the original total. It worked really well forme. I find this method more encouraging, rather than charging the client late fees. Who wouldn’t

like to save some money by paying on time?

Adelle Charles, of Fuel Your Creativity Yes Yes

Project — Usually give theClient 2-3 Mock Ups,

Revisions then the Final.Anything after that is

charged hourly.

50% Checks or Paypal. Whatevermakes it easier for the client. Yes Yes

Honestly this setup works for me and I know every creative person has a different way of handlingclients. I think it depends on your workflow if “my” way would work for you or not. I like it becauseeverything is stated clearly within the contract and if you stick to it, the work is produced quickly

and efficiently for the client and if they have deadlines / approvals and payment that they areaware of up front you usually have less chance of “skirting around issues”.

Graham Smith, of ImJustCreative Yes Yes Flat Rate Fee by Project Charge clients 50% upfront Check, Money Transfers,Paypal Yes Yes

As I mentioned earlier, I like to portray a easy going way of working from the outset. It’s somethingthat has worked for me for a while and not once have I been taken advantage of. Not to say it won’t of course, but so far so good. I don’t like laying down to many ground rules, especially with a new

client, I find this can have a positive effect on the professional relationship. If the client feels thatthey are trusted themselves it can really help open things up to a different level, and this can be so

crucial in professional relationships as it sets the tone for possible future projects. If I ever comeacross someone that I don’t get a truly good vibe about then I will cautiously negotiate a

reasonable payment structure, but one that keeps things relatively flexible but not so flexible that Icould end up with egg on my face or worse. So it is often on a client by client basis, but so far,

most clients have been totally trustworthy which is fantastic. Just don’t drop your guard.

Brian Hoff, of The Design Cubicle Yes Yes Flat Rate Fee by Project

Small Projects I as for 50% up front. LargerProjects, I ask for 33% upfront. Once the scopeand details of the project is detailed in writing, I

nicely let them know, verbally and in writing, thatthe quote is just an estimate and other factors thatplay beyond the initial scope of the project will becompensated accordingly. Typically the quote isright on the money or falls within 10-20% of theestimate. Experience will help you gain a betterfeel for how long projects typically take, so my

estimates are slowly becoming exact rates more orless.

Check or Money Order Yes Yes

Cheque or money order, through my interactions, have deemed to be more of the clients choice,but on the downside can waste more time while waiting for payments. PayPal for me seems morelogical, but for some clients the idea of transferring money to someone online is a bit scary – that’s

where trust comes in to play.

Graham James, of FTC - CreativeDirector, Graphic Designer Yes Yes Project 50% Check, Cash, Paypal Yes Yes

Depends on the project. If it’s a logo…it’s a flat rate. Make sure its something like 3looks/proposals/recommendations for logo…you get 5 redesigns. Pick one then you get 5 differentupdates. 50% is upon the final of the project. Depends on the project. If it’s a logo…it’s a flat rate.Make sure its something like 3 looks/proposals/recommendations for logo…you get 5 redesigns.

Pick one then you get 5 different updates. 50% is upon the final of the project.

Ando Caulfield, of FTC - CreativeMarketing, Photographer, Filmer Yes Yes Project

0% I don't ask for anything upfront, I probablyshould, but I usually ask how much I would be

getting for the overall Project.

You know, it all depends, but Iusually charge a client per

project. Every project differs. I’ve done jobs that pay by money,

by free travel, for photoequipment, trade for something;

every project and client isdifferent

Yes Yes

It’s different for everything; it just depends on the project and your terms and conditions both youand your client agree on. As for payment, I like to get paid 30 days after my work is published. Myterms are usually getting paid within a 30-day time span but again, the sooner the better. Its hard

when you deal with clients that try to stiff you after a project, I don’t know. What can you do? In myline of work, some people are in whole other countries, it’s hard. I got stiffed for a job in Japan onetime that finally paid me over a year later. The good thing about that one was they eventually paid

me in Yen, which at the time Yen was strong, so I ended up making an extra $700 on thatparticular job. I suggest making a Paypal account. Paypal accounts are another option for

payment. Make it as easy as possible for people to pay you.









33






















charged hourly.



























Yes Yes













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charged hourly.



























Yes Yes


































charged hourly.



























Yes Yes













35






















charged hourly.



























Yes Yes


































charged hourly.



























Yes Yes













GRAHAM JAMES

Experience

JOB : Art DirectorPLACE : FTC PERIOD : Aug 2004 - Present

JOB : Graphic DesignerPLACE : Banana Republic PERIOD : May 2005 - Nov 2005

JOB : Art DirectorPLACE : Banana Republic PERIOD : Jan 2004 - Dec 2004

JOB : Art DirectorPLACE : Highway OnePERIOD : 1996 - 1998

Art Director/ Clothing Designer

3939

Interview with Graham James

“I had to figure out on my own.”

Do you freelance as graphic designer?

Yes, sparingly, but yes. Mostly picking up clients through word of mouth and here and there for friends.

Before beginning a project, do you usually require an upfront fee? If so, how much and why? Before starting a job, I usually always require an upfront fee of 50% for the overall project fee. This method lets you know that the client is for real and is upfront with you. It shows that the client is serious about the job. This transaction is more than just a “hand-shake,” it gets the project moving forward.

How do you charge a client?It really depends on the project. It depends on how long a project is expected to last. Is the project going to take a few hours or will this project go on for a couple weeks or possibly even a few months, it all depends. If it’s a logo…it’s a flat rate. I usually come up with a ‘package

deal,’ something like 3 looks/designs, a round of proposals and a round of recommendations from the client for logo for a certain flat rate…versus another few redesigns for an extra fee. I usually have the client pick one logo-design then they get 5 different updates or redesigns for another price. The pricing is dependent on if a job is going on for a while. Is the project going to last 5 months versus a couple weeks? It all depends on the project, but 50% upfront is what I require then the last 50% is picked up upon the final of the project.

What terms and/or conditions (protection and paymentmethods) do you usually include in your invoice?I usually only deal with friends or people I know. You should include terms and conditions in an invoice and in the contract. I personally don’t. I usually only deal with people I know.

What fees do you include in your invoice and why?

These fees are more for the professional freelance graphic designer; I only freelance here and there with a close cliental. I don’t really deal with any of these fees; I would if I dealt with new clients. When I design for aclient, it’s usually just explained in person with the client. We decide on the project goals, the objectives, the time line of the project, clients expectations, a rate, a shake of hands, I deliver and get paid.

How do you deal with clients that do not pay on time?I usually deal with friends, but I keep up on my clients. I usually keep calling friends, emailing them or otherwise, a bridge is burnt. You have to know that you can’t depend on a client for payment or another job. New clients or returning clients you are unfamiliar with, you have to keep on top of at all times. This is why I mainly deal with friends, which make things smoother, but it can also be difficult, because friends expect more out of you, like discounts and speedy work.

Did you learn invoicing/contracts in school?They went over it in school but they didn’t really show me anything. I had to figure it out on my own, just like all designers need to figure it out on their own. I figured they would teach memore of the business side of things, especially going to The Academy of Art. This information would have been useful for me to learn in school or for any designer. The invoice shows clients that you are on top of your game and also acts as protecting for you. The invoice is the handshake between you and your client. It gives the client a clear delivery on their side as well. I got my first gist of contracts with a dummy contract I found on line or that was given to me by a friend. You should include terms and conditions in an invoice and in the contract. I personally don’t, because again, I usually only deal with people I know.

42

Do you freelance as a graphic designer?I take on very select clients for freelance projects.

Before beginning a project, do you usually require an upfront fee? If so, how much and why?Depending on the nature of the project, I might ask for a percent up front to cover costs. Deposit amount will depend on materials or reference costs.

How do you charge a client? Usually it’s a per-project cost, but if needed, I charge around $30/hourly.

What terms and/or conditions (protection and payment methods) do you usually include in your invoice?Before starting a project I will usually specify if a certain amount is needed upfront. Also, I will specify that a payment is needed at latest 30 days after artwork is completed & turned in (net 30).

What fees do you include in your invoice and why?I have set prices for certain projects, for example t-shirt graphics, logos, graphics to be used in c/s, print graphics, etc.)

How do you deal with clients that do not pay on time?Any suggestions how to prevent this situation?References, and a clear understanding on both parties on what work will be done, for what amount, and when it will be completed.

Benjamin EscobarSenior Designer/Freelance DesignerContract Designer for The Hundreds


Not technically, I freelance as a photographer and retoucher.

Before beginning a project, do you usually require an upfront fee? If so, how much and why? I do not charge an upfront fee. I am a small business and still building clients and contacts. I would consider charging an upfront fee if I were busy enough and my time was in high enough demand.

How do you charge a client?This depends on the project for me. When retouching I charge by the hour. Hours are estimated before hand and additional hours typically have to be approved in advance. When managing a project in full from beginning to end for a client, I prefer to organize a total project fee. Most of my clients are sole proprietorships so I am dealing directly with the owner(s). Simplifying the fees and expenses and giving an honest and upfront end sum is what I focus on. The challenge is finding a balance between including so much information that the client needs someone to explain what they are paying

for and not providing enough (or clear enough) information so the client doesn’t know what they are paying for.

What terms and/or conditions (protection and paymentmethods) do you usually include in your invoice?I haven’t done very much ad or editorial work yet so I haven’t had to deal with detailed usage. “What is this getting used for?” is always one of the first questions I ask when approaching a job. My estimates and invoices default to maintain copyright, self promotion, sale, licensing, and all rights not specifically renegotiated by the client. Defaults also include no 3rd party usage, 1st party in-house promotion only, and interest on unpaid sum after 60 days, copyright info…

I haven’t had to deal with national vs. regional print runs, international usage, 3rd party licenses, exclusive rights, copyright buyouts, or other issues that I’ll hopefully have to

deal with soon.

What fees do you include in your invoice and why? Kill fees are included in the terms and usage attached to each estimate. Travel and materials are listed as expenses and all

expenses (hard spending) are either grouped into line items or specifically listed on the invoice. Creative fees (day rates) I typically list in one item and not by the hour or days. I usually title it creative fees or project fee. Once again the goal is to give the client a sense that they are getting what they pay for but not getting ripped off.

Late, rush, usage, and licensing

fees are all listed when necessary.

How do you deal with clients that do not pay on time?Prevention is pretty difficult but some people write pretty extreme consequences or interest into their estimates and invoices for this reason. I write in a pretty standard 5% per month on unpaid balance after 90 days. I intend this as a preventative tool as it would be difficult to realistically collect.With a client that doesn’t pay, I typically send a reminder after 60 days. After 90 days I send another reminder including a reminder about the interest, which is now being charged… usually giving 30 more days to fill invoice in full. If no payment after 120 days, a cease and desist letter from the desk of a lawyer is almost the only option left. If a client is significantly and/or repeatedly late in paying,

I will require an upfront fee or percentage the next time they request services.

Did you learn invoicing/contracts in school?We learned quite a bit about invoicing, estimating, pricing, usage, and billing at Brooks Institute of Photography. We were required to take marketing and basic accounting. Specific classes (i.e. stock, advertising, fashion, editorial…) usually taught usage, licensing, and invoicing lessons that were specific to their focus. The teachers were well experienced and gave us a lot of info. It was hard to comprehend at the time since it was all theoretical. None of it really sank in until I had to do it for myself in real world application. Once I started having to actually do it, many of the lessons returned in my mind and I realized in hindsight that we were given a lot of valuable information.

Michael BlumenfeldFreelance Photographer/Retoucher


No, I’m actually a freelance photographer and filmer.

Before beginning a project, do you usually require an upfront fee? If so, how much and why? No. I don’t really require anything upfront but I would like to know how much I would be making on a project upfront. Most of the stuff I do is for magazines; spreads, features or covers. I usually know roughly what I would be making upfront per page, per photo, per article, per project. These are returning clients that I have built relationships with and trust, on both ends.

How do you charge a client?You know, it all depends, but I usually charge a client per project. Every project differs. I’ve done jobs that pay by money, by free travel, for photo equipment, trade for something; every project and client is different.

What terms and/or conditions (protection and paymentmethods) do you usually include in your invoice?It’s different for everything; it just depends on the project and your terms and conditions both you and your client agree on. As for payment, I like to get paid 30 days after my work is published. My terms are usually getting paid within a 30-day time span but again, the sooner the better.

What fees do you include in your invoice and why? Uh….Not really, I should. Travel fees are ones that I am most familiar with and are on some ofmy invoices for some jobs.

How do you deal with clients that do not pay on time?I don’t know. What can you do? In my line of work, some people are in whole other countries, it’s hard. I got stiffed for a job in Japan one time that finally paid me over a year later. The good thing about that one was they eventually paid me in Yen, which at the time Yen was strong, so I ended up making an extra $700 on that particular job.

I suggest making a Paypal account. Paypal accounts are another option for payment. Make it as easy as possible for people to pay you. People are lazy; this will make things easier.

Do you then charge a client and extra fee for using Paypal, since Paypal charges a 3% fee?Oh shit, really? Haha, I didn’t know that. I will have to start charging a 3% interest on jobs that pay me through Paypal; good to know. But, I usually don’t charge an interest fee, but I should, and now will. Haha.

Ando CaulfieldFreelance Photographer/Filmer/Editor/Producer

“Every project differs. I’ve done jobs that pay by money, by free travel, for photo equipment, trade for something; every project and client is different.”

51

This tool could help organize and manage the users busi-ness, better organize future projects, define objectives, bring a clear understanding on deliverables, price, and payment methods to better clear up and translate the language between designer and client. This tool could make the project translation process a more exciting, easier, more enjoyable, and a less mundane process. This tool may be a digital for-mat so it is easier to transport, send, update or change. This tool is intended to present the client as a tangible/physical element that could be held and shared between both the designer and client to better help bring light to a project. I intend this tool to act as a device that would break the ice to meeting a client face to face and to better help obliter-ate the confusion behind the process of project translation, through the design process, to final product and lastly, project payment.

Features:I will design a digital file format that could be redesigned or customized to better fit the intended client or project the tool will be defining. I expect this tool to help guide new and/or unexperienced graphic designers run their business as a freelance designer, run more smoothly and successfully. This tool will help some, not all, but most graphic designers, considering that not all jobs and/or projects deal with the same components, objectives and/or deliverables.

This tool will help with the workflow of most jobs/projects. It will break down a project into vital components, such as project objectives, project scope, target audience, price estimation, intend users, payment methods preferred. This tool will bring clarity and understanding to a project for both client and designer. The tool will be a physical/tangible sub-stance, which will only make things easier to later manipulate, easier to read, outline, understand, reference and define goals to develop a final design and get paid.

This tool needs to be clean and simple to define a clear understanding of price and payment methods in a clear, simple, readable, accessible way for both parties to better understand.

52

User Analysis

Lifespan:I initially expected this tool to be a digital file format to later be customized, printed and presented as a physical/tangible tool that could be shared between both the client and designer. Since the tool will be designed as a digital file, I expect the designer to use the basic layout of the overall structure of the overall tool and redesign or customize it to better serve/fit the look and feel of the intended project or client(s) brand/style/look. Once the basic layout of the tool is restructured and personalized for a specific client, then the tool is intended to be printed and presented as a personalized project both designer and client could work together with and reference. I intend this tool to last several years, considering how simple and easily the tool will be to manipulate, change or update being a digital file format. The value of the tool being a digital format only means the process will become simpler, better, stronger, more consistent, cleaner and easier to use, update and/or change as time, technology, project expectations and media changes. This tool must not only be simple and easy to use and manage, but simple and easy to change, update and manipulate by user and/or client intended for multiple jobs or projects and/or expectations.

User:I intend this tool to be used by individual graphic designers new to the professional world of freelancing or those looking for another outlet to better run the flow of their business as independent designers. This tool could also possibly be used by clients as well, looking to work with a freelance graphic designer, to help the client define their goals, objects, pay-ment expectations and projections to present a designer and work from there together. The intended user could lack the proper knowledge and skill in order to run a smooth and successful business as a freelance graphic designer or just want a tool to help them with the process of working with on a project/job. I intend this tool to better organize the overall project with a breakdown, run a freelance business more smoothly and successfully and finally getting payment for the work put into a project. This product must be effective and simple for both client and user to both use, reference and understand.

53

Education:Since the tool will be designed as a digital file format, I do expect the intend user to have some background and some understanding of basic computer programs to redesign and print the tangible tool. This tool should display several options/components available for both user and client to better bring a clear understanding, description and intended goals in order to complete a project. This tool will not only bring simplicity, order, speediness, fun and excitement to the process of a new vessel to bring clarity of a project or job, but education on different routes/options on how to charge, update, clear up any loose ends on a project, ect. This tool will serve as a guideline on educating the user in a more effective and successful manor of independent business practice as a freelance graphic designer.

Form:The tool will be a basic layout, but is up to the designer to keep it looking friendly, inviting, welcoming, comforting, clean, simple, reliable, well designed and still be able to change or manipulate without much effort. The language/ visual symbols should communicate clearly and offer intuitive control. Since projects change, the tool should be forgiving, yet organized enough that both parties are aware or can handle changes/manipulations.

Technology:The tool should be robust, clean and simple to read/use for both the designer and client. I will rely on technological/digital components/applications as my primary vehicle for the design and layout of my tool, but do intend for the final tool to be a tangible presentation. I feel that as the art/graphic design/photographic/design becomes more digitally inclined and less print related, the design driver may change and may lean more towards a digital means of transporta-tion and presentation. This tool must still remain as clean, simple, effective, universal and reliable as possible in order to bring a universal language to the table between designer and client.

55

Invoicing Tools:

From the information I have gathered from my survey for students, I have come to the conclusion that the invoice was a foreign tool for most beginning designers. Also, speaking, working and seeing how professionals work with clients, getting paid for a job, on time, was a vital part of the work-flow which is an uncomfortable subject for anyone. Becoming comfortable with the invoice will make the process more approachable for the beginning designer. I thought it was important enough for me to at least introduce the invoice in my project. There are several websites, free templates and available software that can help the beginning designer better understand the invoice.

Although, the invoice is not part of my scope, I believe it is at least important enough to introduce because my tool will help the designer organize everything up to the point of billing the client. I want to at least guide the designer enough to be able to plug in the rest of their information to bill the client for their work and to get paid.

The following pages review several websites and programs, free and with a fee. These tools will better guide the designer to bill a client, organize products/services, keeping track of product/service sales and even prepare the designer for tax season.

56

XinInvoice http://www.xininvoice.com/ PC & Mac $27.99 English, Chinese, Malay,Slovenian, Spanish 100% 100% 100% 100% 100% 100% 100% 100% 100% 0 0 0 0 0 0 100% 100% 100% 0 0 0 0

Express Invoice http://www.nchsoftware.com/invoice/index.html PC & Mac Free English 100% 100% 100% 100% 100% 100% 0 0 0 0 0 0 0 0 0 100% 100% 0 0 0 0 0

QuickBooks PRO http://quickbooks.intuit.com/pro/features/ PC & Mac $229.95 English 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 0 0 100% 0 0 0 0 0 0

FreshBooks www.freshbooks.com iPad Free Trial English 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 0 100% 100% 100% 0 0 0 0

TapInvoice http://itunes.apple.com/us/app/tapinvoice-invoicing-software/id384349738?mt=8 iPhone & iPad $4.99 English, French, Spanish,

German, Italian, Portuguese 100% 0 0 100% 50% 100% 100% 100% 100% 0 50% 0 0 100% 0 100% 100% 0 0 0 0 0

Microsoft Office Program PC & Mac Package Deal English 100% 0 0 0 100% 100% 0 0 100% 100% 0 0 0 0 0 100% 0 0 0 0 0 0

Invoice2go http://www.iphone-invoice2go.com/ PC & Mac $10.49 English, German, French,Spanish, Italian 100% 0 0 100% 100% 100% 100% 0 100% 100% 0 100% 100% 100% 100% 100% 100% 100% 0 0 0 0

LessAccounting https://lessaccounting.com/ PC & Mac $30 Per Month English 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 0 0

Blinksale http://www.blinksale.com/ PC & Mac $0-45 Per Month English 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100%

Simply Invoices http://www.simplyinvoices.com/ PC & Mac $0-25 Per Month English 100% 0 100% 0 100% 50% 100% 100% 100% 100% 0 0 100% 0 0 100% 100% 0 0 0 0

Invoicing Software Web Address/Software Platform Price Point Languages Offered Creates Invoices,Quotes and Orders

Send/Fax Invoicefrom Program

Automatically sendsstatements to overdue

customers

Mobile Access(iphone, android,

ipad, ect.)

Backup invoicedata and

recovery data

Allows to configurelayout: logo, font,alignment, footer,comments, ect.

Sales ChartInventoryPopularityReports

ExportCapabilities &Multiplatform

ReliableRecords for Tax

Time

Manage Customer,Vender and

Employee Data

Offers OnlineBanking

CustomerSupport

Invoice Clients indifferent

currencies

SyncingCapabilities with

your desktop

Offers SeveralTemplates

Offer a Paypalpaymentmethod

Offer 3rd PartyIntegration

Offer BankConnectionsand Services

Offer a BookKeepingService

Allows Comments onboth ends, Approvals and

Invoice Conversion

Send Thank you's,Customize messages,Send reminders andTag your documents

Invoicing Software Matrix

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customers


ipad, ect.)


recovery data





Time


Employee Data


CustomerSupport


currencies


your desktop







Invoice Conversion



58















customers


ipad, ect.)


recovery data





Time


Employee Data


CustomerSupport


currencies


your desktop







Invoice Conversion

















customers


ipad, ect.)


recovery data





Time


Employee Data


CustomerSupport


currencies


your desktop







Invoice Conversion



59















customers


ipad, ect.)


recovery data





Time


Employee Data


CustomerSupport


currencies


your desktop







Invoice Conversion



61

Designer’s Work Flow:

Problem Statement:

Although students of the Visual Communications Major at

San Francisco State University are equipped with the

appropriate design knowledge, research and presentation

skills, most students lack the proper knowledge and skill on

meeting a client, quoting a job, delivering a job and getting

paid for a job. This knowledge and skill needs to be

obtainable in order to perform successfully in the

professional world as a freelance graphic designer.

The Graphic Designer x Client Interaction

1. Inquiry

a. Contacted from a Past Project, a Website, through a Friend, or through former or past Clients or other.

b. Staying Organized (Email) i. Creating new folders within your inbox

1. New Inquiries Folder a. Keep track of new clients and where you

stand 2. Follow Up Folder

a. Keep track of those that show interest but hesitate to follow through with the project

b. Keep track of the process c. Reminder for approvals

2. The Meeting a. Client approaches Designer or vise versa b. Ideas and visions are shared

3. Information Exchange a. Contact Information

i. Business Card ii. Phone Numbers iii. Web Address

b. Portfolio i. Physical Project ii. Website

4. Quoting a Job — There is no exact formula to quoting for a project. As you get more work and experience with quoting for projects, you will eventually develop our own methods for pricing, but even then, not all projects will follow the same formula, because each job is different. a. Hourly vs. Project Package – It is up to you, but

there are several pros and cons that go into both pricing structures

b. This process weeds out those that aren’t as serious about a project

c. Staying Organized i. Create a Quotes Folder within your email folder

1. Keep track of client quotes

Problem Statement:

Although students of the Visual Communications Major at

San Francisco State University are equipped with the

appropriate design knowledge, research and presentation

skills, most students lack the proper knowledge and skill on

meeting a client, quoting a job, delivering a job and getting

paid for a job. This knowledge and skill needs to be

obtainable in order to perform successfully in the

professional world as a freelance graphic designer.

The Graphic Designer x Client Interaction

1. Inquiry

a. Contacted from a Past Project, a Website, through a Friend, or through former or past Clients or other.

b. Staying Organized (Email) i. Creating new folders within your inbox

1. New Inquiries Folder a. Keep track of new clients and where you

stand 2. Follow Up Folder

a. Keep track of those that show interest but hesitate to follow through with the project

b. Keep track of the process c. Reminder for approvals

2. The Meeting a. Client approaches Designer or vise versa b. Ideas and visions are shared

3. Information Exchange a. Contact Information

i. Business Card ii. Phone Numbers iii. Web Address

b. Portfolio i. Physical Project ii. Website

4. Quoting a Job — There is no exact formula to quoting for a project. As you get more work and experience with quoting for projects, you will eventually develop our own methods for pricing, but even then, not all projects will follow the same formula, because each job is different. a. Hourly vs. Project Package – It is up to you, but

there are several pros and cons that go into both pricing structures

b. This process weeds out those that aren’t as serious about a project

c. Staying Organized i. Create a Quotes Folder within your email folder

1. Keep track of client quotes a. Create Project folders that are divided up

with in depth folders (Quotes, Conversations, Contracts, Updates, Inspiration, ect.)

2. Easily Keep Track of what you quoted in the past – Sometimes after you quote a client, they will not always get back to you right away. They may get busy or shop for other designers, but if they decide to go with you, keeping a record of your quote will make things easier for both you and the client.

d. Create a Standardized Method or Approach to quoting a process i. Flexibility is necessary

1. Not all projects/clients are the same ii. This will speed up your process to get more

clients iii. This will make the process smoother and more

organized 5. Contracts

a. Protection b. Terms and Conditions c. The designer should obviously come up with their

standardized contract in terms of protection and record keeping

6. Initial Meeting — This is a formal meeting where the

client is interested in what you as a designer can bring to the table. a. Exchange of Ideas, Information, Vision

i. Learn Business, Client, background ii. Ask Questions about company

7. Payment Policies — Establishing policies and accepting payments is the more uncomfortable side of freelance design, but you have to do it in order to get

paid – Establishing a payment process of 50% upfront and 50% upon project final should become part of the payment policies you should become used to working

with. This method will also save you plenty of time rather then wasting it on clients that aren’t as

committed to a project.

8. Designer Research — Before the initial research, the designer should do some basic research about the client/project/company to prepare for any possible

questions. After the initial meeting and you have a better idea of what is expected of you as a designer

and what you need to know for the specific project. a. Research the Client/Company/Project b. Research Inspiration

i. Colors ii. Layout

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a. Create Project folders that are divided up with in depth folders (Quotes, Conversations, Contracts, Updates, Inspiration, ect.)

























































iii. Feeling/Emotion iv. Typography v. Process vi. Materials vii. Budget viii. Output expectations

9. Project Update — The designer must design within the

given factors he/she must design within to meet the client’s expectations. The designer presents the client to concepts, direction and ideas for the job.

10. Client Approves/Denies the design/concept/project 11. Invoicing – Creating and tracking invoices is an area

that all designers need to standardize in one-way or

another. a. There are many free templates, applications and

programs that help the freelance designer b. Staying Organized

i. Create an Invoice folder within your email Inbox 1. Keep track of invoices that have been

paid/pending ii. Create Quotes, Estimates, Keep track of time

and expenses 12. Tracking Time - Whether you are charging clients by

the hour or by project, it is extremely helpful to know how much time you are investing in a project. Keeping track of your time process will help give you a better

estimate for future projects. a. Time59 (www.time59.com) $59 per year b. FreshBooks

13. Process of Design, Feedback and Revisions — It is helpful but not necessary to standardize the design

process, getting feedback from clients, and making the appropriate revisions. Below is a graphic design process scenario you can take from and make your

own. a. Meet with Client to obtain initial information about

the project b. Sketching a basic layout or idea after getting the

initial information from a client. c. Getting approval from the client on the basic

concepts of design d. Digitizing the artwork for production in software e. Getting Client Feedback on the mockup f. Make changes and corrections to complete the

design g. Present the final completed artwork/design h. Output design to clients needs i. Get paid

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65

Personalization Project:

The Emotional Package — The process of designing for a client/project will be always be different, because no job, expectation or deliverable is the same. I believe presenting an emotional and personal design process for every client will make things that much more effective to interact with the client, design and get paid.

1. The Emotional Package Content a. Client information

i. Company, Contact, Conversations, Emails, Approvals

b. Objectives, Goals, Specifics c. Mind Maps/Brainstorming/Design Methods d. Sketches, Direction, Inspiration, Typography,

Color schemes e. Digitized Concepts/Ideas f. Thesis Statements

i. Every Design should be broken down to reasons for color, size, placement, typeface, inspiration ect. to better educate the client and keep the designer on track as well.

g. Terms and Conditions h. Time charts i. Design Process.

2. Personal Portfolio Per Project — Serves as a personal project portfolio that could be shared and built between designer and client.

a. This would be the Ice Breaker for new designers i. The entire design process as a

presentation to give to a client will break the ice between the new designer and client

b. This process would better help the designer and client to both be on the same page on a project and would give the client a better idea of your process of design.

c. This process would help build confidence and trust between the designer and client.

i. Displays enthusiasm and pride 3. A Gift — Everyone loves gifts, a well-designed process

book of a project that can be gifted to a client would show the client you care that much more as a freelancer. If a project is complete and you get paid,

the process book can only help you as a designer. The client will feel the emotional and personal time and

energy you have displayed as going that extra step for them and will build trust and confidence in your work.

4. Respect — If a client feels satisfied with your work

then they will keep you in mind for future reference, but if you give them a little more than they expected, something to walk away with, then they feel like they

walked away with not just a design, but also a friend.



















walked away with not just a design, but also a friend.

66

What is an Invoice?



















walked away with not just a design, but also a friend. Whether they call you down the road for more work or they know someone looking for some design work, your

name and process of design will stand out and soar over those that jump in to design and get paid. You will bring the missing link between client and designer.

The invoice - The business invoice is an essential legal document given to the customer or client to serve as a record of goods or services sold to the customer or client. You the vendor or service provider need to retain a copy as a record of your sales. The customer or client needs to retain a copy as a record of their purchases or expenses. It indicates to the customer how much is due or how much has been paid by the customer.

You would normally send it together with the delivery of the goods or on completion of services you rendered. Or you may also send it separately in the mail after delivery of goods or services.

The invoice is…

1. A Tool

a. Time keeper: tracks amount of hours worked on project

i. Works as a bill for the amount of hours the designer has put into a project to then get paid for their services

b. Bill: breaks down your products or services i. This becomes a recipe for the work or services that

were provided for the project ii. This becomes is a statement to get paid for your

work or services that the designer has provided c. Services: Describes the type of work produced for

the project i. It breaks down the project

1. Breaks down the scope 2. The milestones involved in the project 3. The delivery/due date the project must be

completed d. Protection: This becomes a safety for both client and

designer. It keeps your work safe and makes sure you get paid for your work

i. It is a written, legal agreement between designer and client 1. Project Scope 2. Services Provided 3. Delivery Dates 4. Proper Media Format 5. Approvals 6. Payment Method

Whether they call you down the road for more work or they know someone looking for some design work, your




The invoice is…

1. A Tool











67

Whether they call you down the road for more work or they know someone looking for some design work, your




The invoice is…

1. A Tool











2. An Organized Project Breakdown

a. Guideline i. It is a guide to the amount and type of work and

services that were provided within the project speculations 1. Lists type of work and service delivered

ii. It is a clear price guide 1. It is written legal document/agreement

between client and designer upon price expectations

2. Tool to get paid 3. Legal

b. It eliminates any confusion of the project between the client and designer.

c. Sets checkpoints or milestones in a project to organize the progress and the direction of the project

i. Displays progress of project ii. Allows the client and designer to check in with a

project iii. Protects the designer in moving in the correct

direction iv. Provides client with trust in progress and work

provided with in the project to make sure it is running smoothly and on time

d. Provides a Project Projection i. Breaks down the Project

1. Objective 2. Goals 3. Needs 4. Wants 5. Expectations 6. Media Format 7. Presentation 8. Delivery/Due Date 9. Price

3. A Bill

a. As the service provider, it is a clear breakdown of the amount and type of work and services that was provided within the project speculations

i. It is a record of the work or service that the designer produced

b. As a client, this is a recipe of the types of services that were purchased to maintain their business.

i. It is a recipe that could be used as a tax write off c. This provides detailed information on work or

services the designer has delivered on the project and miscellaneous fees

i. Service fees ii. Late fees iii. Material fees iv. Travel fees v. Kill fees

2. An Organized Project Breakdown a. Guideline

i. It is a guide to the amount and type of work and services that were provided within the project speculations 1. Lists type of work and service delivered












3. A Bill






i. Service fees ii. Late fees iii. Material fees iv. Travel fees v. Kill fees

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2. An Organized Project Breakdown a. Guideline

i. It is a guide to the amount and type of work and services that were provided within the project speculations 1. Lists type of work and service delivered












3. A Bill






i. Service fees ii. Late fees iii. Material fees iv. Travel fees v. Kill fees vi. Service charge fees

1. Wire Transfers (Different between banks) 2. PayPal (3% Service Charge Fee)

vii. Currency Conversion fees 4. Serves as Protection

a. Approvals i. This insures that the work or the services provided

are complete and meet the client’s needs and wants 1. Relieves the designer of going in the wrong

direction and possibly wasting time and money ii. Releases any legal responsibility from designer is

something goes wrong or changes in a project 1. If a client signs off on an approval of work, but

say there is a misspelled work they did not catch and the project goes to print, this relieves the designer at fault

iii. Signatures on the invoice provide legal recognition of approval and understanding of the services provided and payment expected for the project 1. Eliminates confusion 2. Brings about the same language within the

project b. Payment

i. This is a legal bill the client and designer have agreed upon that insures that the discussed and agreed upon price for the designer’s work and services provided for the project are paid 1. Insures payment within a timely manner 2. Insures other fees are met and paid for

a. Service fees b. Late fees c. Material fees d. Travel fees e. Kill fees f. Currency Conversion Fees g. Service charge fees

i. Wire Transfers (Different between banks)

ii. PayPal (3% Service Charge Fee) c. Taxes

i. Provides the client with proper/legal record of product or services purchased in order to run a business

ii. Provides the service provider with proper/legal record of work or services offered and delivered to run as a business

5. An Invoice Contains… a. The word invoice (or Tax Invoice if in Australia and

amounts include GST). b. A unique reference number (in case of

correspondence about the invoice) c. Date of the invoice.

vi. Service charge fees 1. Wire Transfers (Different between banks) 2. PayPal (3% Service Charge Fee)








project b. Payment









correspondence about the invoice) c. Date of the invoice.

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vi. Service charge fees 1. Wire Transfers (Different between banks) 2. PayPal (3% Service Charge Fee)








project b. Payment









correspondence about the invoice) c. Date of the invoice. d. Tax payments if relevant (e.g. GST or VAT) e. Name and contact details of the seller and client f. Tax or company registration details of seller (if

relevant)[e.g. Australia Business Number (ABN) for Australian businesses.]

g. Name and contact details of the buyer h. Date that the product was sent or delivered i. Purchase order number (or similar tracking numbers

requested by the buyer to be mentioned on the invoice)

j. Description i. Products unit prices of the products ii. Work and/or services provided with corresponding

charges per service k. Total amount charged

i. Optionally with breakdown of taxes, if relevant l. Payment Terms

i. Including method of payment 1. Per Hour 2. Per Project 3. % Amount upfront before starting a project

a. 50% upfront, 50% upon delivery b. 33% upfront, 33% at milestone and 34%

upon project delivery ii. Date of payment iii. Details about charges for late payment

My Freelance Guiding Tool

1. iPhone Application

a. Digital Format - Universal b. Simple, Clean and Universal Tool most people have

access to c. Inexpensive to maintain d. Easily accessible and simple to change or update e. Readily available f. Simple updates g. Allows simple export formats h. Digital archival options

2. Computer Application

a. Same as above 3. Digital Online Meeting Center

a. Same as above b. Allows easy access from any computer c. Allows the capability of live chat, or live video

meetings d. Digital archival options

4. Game

a. Interactive between client/designer b. Brings about trust, confidence, culture, learning for

one another c. Provides client and designer with a more intimate,

personal, deeper project experience

d. Tax payments if relevant (e.g. GST or VAT) e. Name and contact details of the seller and client f. Tax or company registration details of seller (if

relevant)[e.g. Australia Business Number (ABN) for Australian businesses.]

g. Name and contact details of the buyer h. Date that the product was sent or delivered i. Purchase order number (or similar tracking numbers

requested by the buyer to be mentioned on the invoice)

j. Description i. Products unit prices of the products ii. Work and/or services provided with corresponding

charges per service k. Total amount charged

i. Optionally with breakdown of taxes, if relevant l. Payment Terms

i. Including method of payment 1. Per Hour 2. Per Project 3. % Amount upfront before starting a project

a. 50% upfront, 50% upon delivery b. 33% upfront, 33% at milestone and 34%

upon project delivery ii. Date of payment iii. Details about charges for late payment

My Freelance Guiding Tool

1. iPhone Application

a. Digital Format - Universal b. Simple, Clean and Universal Tool most people have

access to c. Inexpensive to maintain d. Easily accessible and simple to change or update e. Readily available f. Simple updates g. Allows simple export formats h. Digital archival options

2. Computer Application

a. Same as above 3. Digital Online Meeting Center

a. Same as above b. Allows easy access from any computer c. Allows the capability of live chat, or live video

meetings d. Digital archival options

4. Game

a. Interactive between client/designer b. Brings about trust, confidence, culture, learning for

one another c. Provides client and designer with a more intimate,

personal, deeper project experience

What weshould know?

Why they should buy?

What’s our approach?

What must be included?

What wewant tohappen?

Who to sell?

What to sell?

How to sell?

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Information Seeking Strategies

KEY FACT(S): “What we should know” This is background information or research pertinent to the execution of the creative. It’s the frame of reference.

OBJECTIVE: “What we want to happen” This what we want the creative to accomplish. It’s a specific communications objective, not a marketing/sales objective.

TARGET AUDIENCE: “Who to sell” This is a profile of the audience we are trying to reach. It’s a demographic and/or psychographic portrait of the customer.

POSITIONING: “How to sell” This defines where you want to place your product or service relative to the competition or a control and how you want to be perceived by the target audience. It suggests the personality of the product or service.

PRIMARY MESSAGE: “What to sell” This is the main benefit (not a feature) that the customer receives from the product or service. It’s the unique selling point.

COPY PLATFORM: “Why they should buy” These are features (and benefits) that support the primary message by providing reasons why the customer should buy the product or service. It’s the details you would find in the body copy.

TONE AND EXECUTION: “What’s our approach” This dictates characteristics that should be reflected in the copy and design. It’s the overall style.

MANDATORIES: “What must be included” These are specific copy points or design elements that must be included in the creative.

72

AIGA Standards of professional practiceThe designer’s responsibility to clients

1.1 A professional designer shall acquaint himself or herself with a client’s business and design standards and shall act in the client’s best interest within the limits of professional responsibility.

1.2 A professional designer shall not work simultaneously on assignments that create a conflict of interest without agreement of the clients or employers concerned, except in specific cases where it is the convention of a particular trade for a designer to work at the same time for various competitors.

1.3 A professional designer shall treat all work in progress prior to the completion of a project and all knowledge of a client’s intentions, production methods and business organization as confidential and shall not divulge such information in any manner whatsoever without the consent of the client. It is the designer’s responsibility to ensure that all staff members act accordingly.

1.4 A professional designer who accepts instructions from a client or employer that involve violation of the designer’s ethical standards should be corrected by the designer, or the designer should refuse the assignment.The designer’s responsibility to other designers

2.1 Designers in pursuit of business opportunities should support fair and open competition.

2.2 A professional designer shall not knowingly accept any professional assignment on which another designer has been or is working without notifying the other designer or until he or she is satisfied that any previous appointments have been properly terminated and that all materials relevant to the continuation of the project are the clear property of the client.

2.3 A professional designer must not attempt, directly or indirectly, to supplant or compete with another designer by means of unethical inducements.

2.4 A professional designer shall be objective and balanced in criticizing another designer’s work and shall not denigrate the work or reputation of a fellow designer.

2.5 A professional designer shall not accept instructions from a client that involve infringement of another person’s property rights without permission, or consciously act in any manner involving any such infringement.

2.6 A professional designer working in a country other than his or her own shall observe the relevant Code of Conduct of the national society concerned.Fees

3.1 A professional designer shall work only for a fee, a royalty, salary or other agreed-upon form of compensation. A professional designer shall not retain any kickbacks, hidden discounts, commission, allowances or payment in kind from contractors or suppliers. Clients should be made aware of mark-ups.

3.2 A reasonable handling and administration charge may be added, with the knowledge and understanding of the client, as a percentage to all reimbursable items, billable to a client, that pass through the designer’s account.

3.3 A professional designer who has a financial interest in any suppliers who may benefit from a recommendation made by the designer in the course of a project will inform the client or employer of this fact in advance of the recommendation.

3.4 A professional designer who is asked to advise on the selection of designers or the consultants shall not base such advice in the receipt of payment from the designer or consultants recommended.Publicity

4.1 Any self-promotion, advertising or publicity must not contain deliberate misstatements of competence, experience or professional capabilities. It must be fair both to clients and other designers.

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4.2 A professional designer may allow a client to use his or her name for the promotion of work designed or services provided in a manner that is appropriate to the status of the profession.Authorship

5.1 A professional designer shall not claim sole credit for a design on which other designers have collaborated.

5.2 When not the sole author of a design, it is incumbent upon a professional designer to clearly identify his or her specific responsibilities or involvement with the design. Examples of such work may not be used for publicity, display or portfolio samples without clear identification of precise areas of authorship.The designer’s responsibility to the public

6.1 A professional designer shall avoid projects that will result in harm to the public.

6.2 A professional designer shall communicate the truth in all situations and at all times; his or her work shall not make false claims nor knowingly misinform. A professional designer shall represent messages in a clear manner in all forms of communication design and avoid false, misleading and deceptive promotion.

6.3 A professional designer shall respect the dignity of all audiences and shall value individual differences even as they avoid depicting or stereotyping people or groups of people in a negative or dehumanizing way. A professional designer shall strive to be sensitive to cultural values and beliefs and engages in fair and balanced communication design that fosters and encourages mutual understanding.The designer’s responsibility to society and the environment

7.1 A professional designer, while engaged in the practice or instruction of design, shall not knowingly do or fail to do anything that constitutes a deliberate or reckless disregard for the health and safety of the communities in which he or she lives and practices or the privacy of the individuals and businesses therein. A professional designer shall take a responsible role in the visual portrayal of people, the consumption of natural resources, and the protection of animals and the environment.

7.2 A professional designer is encouraged to contribute five percent of his or her time to projects in the public good-projects that serve society and improve the human experience.

7.3 A professional designer shall consider environmental, economic, social and cultural implications of his or her work and minimize the adverse impacts.

7.4 A professional designer shall not knowingly accept instructions from a client or employer that involve infringement of another person’s or group’s human rights or property rights without permission of such other person or group, or consciously act in any manner involving any such infringement.

7.5 A professional designer shall not knowingly make use of goods or services offered by manufacturers, suppliers or contractors that are accompanied by an obligation that is substantively detrimental to the best interests of his or her client, society or the environment.

7.6 A professional designer shall refuse to engage in or countenance discrimination on the basis of race, sex, age, religion, national origin, sexual orientation or disability.

7.7 A professional designer shall strive to understand and support the principles of free speech, freedom of assembly, and access to an open marketplace of ideas and shall act accordingly.

75

Alan Gonzalez DAI 505 - Research & DesignProfessor Linder

Design Influence MappingDesigner/Client Introduction Guide

Since graphic designers are hired to design for people that are not as graphically/creatively inclined, I understand that I must explain my work and thought processes behind my work, but I have come to notice that I usually have to explain everything down to its simplest form. This isn’t an inconvenience for me at all, since I love to talk about design, color and history, but I feel that if I brought something for the client to look at as I explain, this could better help both parties explain, breakdown and speak the same language between our thoughts and design. This influence map is compiled of several visual diagrams that may help a designer/client break the ice, educate and help both parties be on the same page. Starting from the upper left hand corner, I have displayed a User Experience Design Diagram, which basically breaks down the design science into a simple structure that better displays what the designer does when working through a project. I believe color theory is very important when it comes to designing. Color can describe a mood, culture, belief, style or just about anything the viewer sees. These diagrams breakdown color, and how to achieve different colors and the moods associated with each color. Lastly, I believe typography is which always has the untrained eye stumped when it comes to design. These diagrams breakdown the science of type and the difference between a serif font versus a san serif font.

77

1. iPhone Application a. Digital Format - Universal

b. Simple, Clean and Universal Tool most people have access to

c. Inexpensive to maintain

d. Easily accessible and simple to change or update

e. Readily available

f. Simple updates

g. Allows simple export formats

h. Digital archival options

2. Computer Application a. Same as above

3. Digital Online Meeting Center

a. Same as above

b. Allows easy access from any computer

c. Allows the capability of live chat, or live video meetings

d. Digital archival options

4. Game a. Interactive between client/designer

b. Brings about trust, confidence, culture, learning for one another

c. Provides client and designer with a more intimate, personal,

deeper project experience

d. Brings new meaning to just an invoice

e. Involves the client more on the projects

f. A digital or physical tool

g. Brings rules, regulations, guidelines and consequences to the

table

5. Guide a. Brings a richer understanding to the project proposal, goals, the

ideas, the thinking, the colors, the entire work flow of the project

b. Educates the Client with the designers eye and language

c. Brings intimacy into the project

d. Digital or a physical tool

6. Calendar a. Brings an organized platform into the mix to set project

milestones and delivery dates.

b. Organizes a project scope

c. Brings about a familiar language to the table the client would

most likely be familiar with to break the language barrier.

d. A physical tool

7. Pictures a. This could help translate the clients ideas

b. A familiar icon tool that best describes the project expectations

c. A digital or physical tool

d. Could organize project scope

8. Book a. Digital or physical

b. Breaks down project by chapter

c. Divides the project in chapters and headers

d. A familiar tool

e. Simple, inexpensive, easy to use format

f. Organized guild line to follow

9. Magazine

a. Same as above

b. Inexpensive costs

c. Sponsors may help pay for printing expenses and shed light to

services involved in graphic design and business

i. Printers

ii. Adobe

iii. Tutorials

iv. Designers

10. Coffee Sleeve a. Everyone loves coffee, it could have a quick guideline or checklist

of invoice to do list, to insure the designer meets all the proper

criteria of a project and invoice

b. It is something that could be shared between client and designer

i. Small, simple, universal, compact, recyclable






f. Simple updates





a. Same as above












table











d. A physical tool








d. A familiar tool



9. Magazine

a. Same as above




i. Printers

ii. Adobe

iii. Tutorials

iv. Designers






78






f. Simple updates





a. Same as above












table











d. A physical tool








d. A familiar tool



9. Magazine

a. Same as above




i. Printers

ii. Adobe

iii. Tutorials

iv. Designers






ii. Could be simply redesigned or designed to make it

more personable between users

iii. It could be fun to interact with

iv. Inexpensive

v. Could potentially be presented as part of the

project and a fun client give away as meetings

progress.

11. Keyboard sleeve a. This would act as a physical display for the designer to work by or

guide them in the right direction of the flow of the design and

business process of running as an independent designer.

b. This would protect the keyboard from liquid spillage

c. This would be color coded and separated

i. Objectives

ii. Proposal

iii. Materials

iv. Milestones

v. Deadlines

vi. Presentations

vii. Color Guideline

viii. Currency Conversions

12. Notebook Tabs

a. Simple to design, customize, present, change and print

b. Organized familiar presentable presentation

i. Organized guideline for both client and designer

ii. Step by step guideline for project execution

iii. This could be physical or digital to easily change

out or update a project to work with the correct

person

c. Color coded for project steps

d. Recyclable

e. Simple to send, fax, organize, change, update, scan

13. Whiteboard a. Guideline and checklist for design process

b. Expensive

i. Not simple to change

c. Not very compatible

14. Pocket printed guide a. Simple, clean, easy to transport, presentable

b. Color coded

c. Not too expensive to print or update

15. Project exchange currency

(currency designed/sized guideline) a. Clean, simple, standardized, organized, easily designed or

redesigned, simple to print or reproduce

b. Fun to exchange, as if exchanging currency

i. Exchanging ideas, updates, approvals

ii. Compact, wallet sized

iii. Brings a more physical, emotional exchange

between client and designer to break the ice

16. Sticky Tabs a. Clean, color coordinated, inexpensive, simple to use, familiar,

brings organization and project hierarchy

b. Acts as project reminders

i. One can add more info onto a tab if needed

ii. Gives a project guideline and hierarchal value

c. Small, compatible, inexpensive

17. Stickers 18. Color wheel (Project Wheel Guideline)

a. Organized project guideline

b. Color wheel influenced circular, layered interactive wheel with

cutout windows to present project options

i. Simple, organized, structured steps and guidelines

ii. Brings project options and organization

19. Colored pencils, crayons or pens (box) a. Color coded project steps




iv. Inexpensive



progress.






i. Objectives

ii. Proposal

iii. Materials

iv. Milestones

v. Deadlines

vi. Presentations



12. Notebook Tabs







person


d. Recyclable



b. Expensive




b. Color coded























79




iv. Inexpensive



progress.






i. Objectives

ii. Proposal

iii. Materials

iv. Milestones

v. Deadlines

vi. Presentations



12. Notebook Tabs







person


d. Recyclable



b. Expensive




b. Color coded























i. Organized Structured project projections

ii. Guideline, options and options

20. Playing cards a. Structured, Organized, Hierarchal value

b. Color coded, meaning, combinations

c. Games

i. Rules, guidelines, value

d. Brings about interactivity between client and designer

21. Creative writing session

a. Brings another look at a project, objective, proposal, guide, color

options, deadlines, brings creativity to the table

b. Easily exchangeable physical or digital

c. Fun aspect of exploring a new path to a project

i. Could bring about new ideas one didn’t think about

ii. No budget in ideas and brainstorming

22. Diagrams

a. Simple, clean, structure, hierarchal, color coded

b. Displays steps, guides, options, opinions

c. Simple to manipulate, change, design, print

i. Inexpensive, archival

ii. Display at any size or color

23. Music play list or guide

a. Explains steps, colors, hierarchal significance

b. Different styles of music depending on project milestone

c. Structure, simple to share, send, exchange, carry

i. Everyone has an iPod, iPhone, iPad or mp3 device

ii. Could be shared or private

24. Product Packaging a. Fun, structured, organized, clean, familiar, hidden project

projections, options and guide

b. Easy to use, read, check off, print, share and understand

i. Creativity never hurts, fun to design

ii. Different way to look at a design guideline

iii. Brings a physical shareable aspect to the table that

could be simple to read, fun to look at and nice to

present

25. Trading Cards a. Fun Packaging that can be shared with client b. Every milestone met approves a gum sample

i. Organized Structured project projections

ii. Guideline, options and options

20. Playing cards a. Structured, Organized, Hierarchal value

b. Color coded, meaning, combinations

c. Games

i. Rules, guidelines, value

d. Brings about interactivity between client and designer

21. Creative writing session

a. Brings another look at a project, objective, proposal, guide, color

options, deadlines, brings creativity to the table

b. Easily exchangeable physical or digital

c. Fun aspect of exploring a new path to a project

i. Could bring about new ideas one didn’t think about

ii. No budget in ideas and brainstorming

22. Diagrams

a. Simple, clean, structure, hierarchal, color coded

b. Displays steps, guides, options, opinions

c. Simple to manipulate, change, design, print

i. Inexpensive, archival

ii. Display at any size or color

23. Music play list or guide

a. Explains steps, colors, hierarchal significance

b. Different styles of music depending on project milestone

c. Structure, simple to share, send, exchange, carry

i. Everyone has an iPod, iPhone, iPad or mp3 device

ii. Could be shared or private

24. Product Packaging a. Fun, structured, organized, clean, familiar, hidden project

projections, options and guide

b. Easy to use, read, check off, print, share and understand

i. Creativity never hurts, fun to design

ii. Different way to look at a design guideline

iii. Brings a physical shareable aspect to the table that

could be simple to read, fun to look at and nice to

present

25. Trading Cards a. Fun Packaging that can be shared with client b. Every milestone met approves a gum sample

81

I chose to introduce a template that could be customized by any designer to help bring a simple wow factor and ice breaker between new designer and client. This template will allow any designer to easily make a non-disposible cup sleeve for coffee, tea or any other hot beverage item to fit any project/client look, feel and/or style. This concept would incorporate an object, which is used everyday, but also overlooked and would bring new meaning to it.

I have noticed from my survey, that a large majority of new designers are unconfident or uncomfortable approaching or meeting with a client. I believe this simple concept could bring a wow factor to the client meeting to present a concept, objective, deliverable, ect. that the client could hold and interact with while the new designer presents over a meeting at a cafe. Plus, brown is such a boring color anyways, why not present something fun and interesting to look at during a meeting.

Coffee Cup Sleeve Template

1. 2. 3.

Pushing the boundaries even more so, I have decided to rework and customize the standardized project forms to help guide the designer and client get through the stages of a project together. I have spiced up the simple and mundane paperwork to bring a more personal approach to guiding my client through the process of accomplishing our goals. The standardized forms become part of the project and become more enjoyable to present and go through.

In this example I have customized the paperwork to fit the aesthetic of ShoeBizSF, a returning client of mine to present a wow effect, showing off the companies assets. I have created a typeface for the company (Above), which I use throughout this book to keep consistency but to also present a personalized approach to the project. The color scheme represents our future project together and keeps the viewer’s attention.

ShoeBiz

Sa

n F ra n cisco,

CA

85

Our goal is to offer our customers the same shopping experience and product management as our retail stores in San Francisco, in particular, the Haight/Ashbury district. We offer a combination of our exclusive collaborations with adidas, Onitsuka Tiger, Reebok, Puma, Goorin Hats, in addition to launch of music collaborations with Converse give us a unique opportunity to bring to you a unique shopping environment. We will continue to discuss and share with you our understanding of trend, fashion, future product, and SHOEBIZ Exclusive designs and collaborations.

As you may know, SHOEBIZ is privileged to launch the only adidas concept shop owned and operated by an independent retailer globally. We are able to offer exclusive product designed and distributed through what is known as the “O-EXCLUSIVE” stores. This means that only a handful of adidas stores world wide would have access to this exclusive/limited product. We inform you of the new product arrival through several different outlets, like Email, our blogs and social media outlets and will open a window for all those who love and wear adidas originals as a fashion statement.

Fashion is our goal; therefore this web site will reflect our in house design and production of women and men shoes at our retail stores in San Francisco. Although it is impossible for us to keep up with influx of all fashion shoes and street wear, we do out best with bringing our customers the best of the best. We will continue to bring and do collaborations with our partners and will try to bring all events and designs to you through our discussion sites and video channels.

Visit us at www.shoebizsf.com

shoebizsf.com

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Shoe Biz + adidas Concept Shop1420 Haight Street

San Francisco, CA 94117P: 415-861-3797F: 415-861-3005

Store Hours11AM – 7PM Mon — Sat

11AM – 7PM Sun

Shoe Biz II – DinoStore : Sneaker Pit1553 Haight Street


Store Hours12PM – 7PM Mon — Sat

11AM – 7PM Sun

Super Shoe Biz : Fashion1420 Haight Street



11AM – 7PM Sun

Shoe Biz – Mission877 Valencia Street


Store Hours12PM – 7PM Mon — Sat

12PM – 6PM Sun

Shoe Biz – Noe Valley3810 24th Street



11AM – 7PM Sun

ShoeBiz Locations

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Creative Strategy

Company Name:

Contact Person:

Phone #:

Email:

Notes:

Job #:

Project Name:

Date:

This information is used to develop and implement procedures in creating the project request.You agree all information submitted is correct.

DESIGNER SIGNATURE DATE PRINT NAME/TITLE

CLIENT SIGNATURE DATE PRINT NAME/TITLE

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KEY FACT(S): “What we should know”This is the background information or research pertinent to the execution of the creative. This is your frame of reference.

OBJECTIVE: “What we want to happen”This is what we want the creative approach to accomplish. This is a specific communications objective, not a marketing/sales objective.

TARGET AUDIENCE: “Who to sell”This is a profile of the audience we are trying to reach. It’s a demographic and/or psychographic portrait of the customer.

POSITIONING: “How to sell”This defines where you want to place your product or service relative to the competition and how you want to be perceived by the target audience. It suggests the personality of the product or service.

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PRIMARY MESSAGE: “What to sell”This is the main benefit (not a feature) that the customer receives from the product or service. It’s the unique selling point.

COPY PLATFORM: “Why they should buy”These are features (and benefits) that support the primary message by providing reasons why the customer should buy the product or service. These are the details that you would find in the body copy.

TONE AND EXECUTION: “What’s our approach”This dictates characteristics that should be reflected in the copy and design.This is the overall style and approach to presenting the product or service.

MANDATORIES: “What must be included”These are specific copy points or design elements that must be included in the creative.

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Company:

Client:

Contact:

Project:

Project number:

Date:

Bid Spec. Sheet

Type of request from printer:Project Description:

Quantity:

Flat Size:

Final Size:

Page Count:

Paper Stock:

Paper Color:

Print Colors:

Bleeds:

Folds:

Packaging:

Line Screen:

Shipping:

Date Ship:

Date Arrive:

Proof Type A:

Proof Due Date:

Proof Type B:

Proof Due Date:

DIGITAL FILES ARE NOT TRAPPED

Materials Supplied:

SIGNATURE DATE PRINT NAME/TITLE

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Company:

Client:

Contact:

Project:

Project number:

Date:

Project ApprovalThe sooner we can get your approval, the sooner we knockout this project

Approved, no changes- Final Approval

Approved with minor revision(s) (refer to Change Order)

Not Approved- Requires major revision(s) (refer to Change Order)

This is to verify that I/we, representing the above named client company, have thoroughly reviewed the project materials described, shown or attached here. I/we accept full responsibility for this final approval. I/we understand that revisions, error corrections and/or preference changes after this approval with be deemed “new work” and invoiced in addition to this project’s fees and reimbursements, with the exception of revisions or error corrections made in association with this form, prior to final approval.

Client Approval Signature(s):


Company:

Client:

Contact:

Email:

Project:

Project #:

Date:

File Name:

Sales Rep: Designer:

Project Title:

Today’s Date:

Proof Date: Due Date:

Approval Form

I have read and understood the terms & conditions of this agreement as it is applies to the project described in the document.

PLEASE CHECK YOUR DIGITAL PDF/THIS PROOF CAREFULLY FOR ERRORS AND OMISSIONS. YOUR SIGNATURE BELOW CON-STITUTES ACCEPTANCE OF FULL RESPONSIBILITY FOR ALL ERRORS, OMISSIONS AND LEGAL AND ETHICAL COMPLIANCE IN THIS DOCUMENT. DESIGNER WILL NOT ACCEPT LIABILITY FOR ERRORS OVERLOOKED AT THIS STAGE OF PROOFING. ANY CHANGES FROM YOUR PREVIOUSLY APPROVED COPY WILL BE CHARGED EXTRA ACCORDING TO BOTH TIME AND MATERIALS.

OK as is

OK with correction(s). No further proof needed (Refer to Change Order)

I require the following corrections and a New proof (Refer to Change Order)

PLEASE SELECT THE APPROPRIATE OPTION & REMEMBER THAT WE DO NOT ACCEPT AND RESPONSIBILITY FOR PRINTS OR REPRINTS DUE TO TYPOGRAPHICAL ERRORS.

Revisions/Alterations: PLEASE PUT YOUR REQUIRED CHANGES BELOW. NOTE: IF THE CHANGES ARE BEYOND THE INITIAL SCOPE OF THE BRIEF, OR YOU ARE ADDING NEW INFORMATION NOT IN THE ORIGINAL BRIEF THESE MAY BE DEEMS AS “AUTHORS CORRECTIONS” AND MAY BE BILLED ADDITIONALLY TO THE ORIGINAL QUOTED PRICE.

This proof is not submitted for color approval, print quality, or paper approval. This proof must be approved 10 days prior to print deadline.


ShoeBiz

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Company:

Client:

Contact:

Project:

Project number:

Date:

Change Order

OK to Proceed

Do Not Proceed

Please advise if there are any questions or if the information is incorrect. Please sign and return to Alan Gonzalez. If you will be faxing a reply, please call our office prior to transmission. Thank you.

Details of change(s):

Schedule Impact:

Budget Impact:



ShoeBiz

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Company:

Client:

Contact:

Email:

Project:

Project #:

Date:

Website:

Sales Rep: Designer:

Project Title:

Today’s Date:

Proof Date: Due Date:

Print Questionnaire Please Help us, Help You. One product per questionnaire only.

I have read and understood the terms & conditions of this agreement as it is applies to the project described in the document.

Project Description and Questions: (ATTACH PAGES AS NEEDED)

Project Purpose:

Audience:

Type of Print Product:

Project Details and Services Needed:

Proofing Media: BLUE LINE PRESS CHECK MATCHPRINT RAINBOW PRINT INK JET PRINT OTHER SIZE OF PROOF

Bindery & Finishing: FOLDING SCORING PADDING VARNISH AQUEOUS COATING NUMBERING MOUNTING OTHER

Packaging and Mailing instructions: (INCLUDE SHIPPING ADDRESS)


Travel & Entertainment Expense ReportNAME COMPANY NAME COST CENTER FOR WEEK ENDING

SECTION 1 TRANSPORTATION AMOUNTAIRFAIR

BAGGAGE TIPS

CAR RENTAL

TAXI/BUS

PARKING/TOLLS

SECTION 2 LODGING AMOUNTLODGING

TIPS

TELEPHONE

SECTION 3 MILEAGE AMOUNT# OF MILES

EXPENSE @ $.31/M

SECTION 4 MEALS AMOUNTBREAKFAST

LUNCH

DINNERSECTION 5 ENTERTAINMENT DETAIL PLACE DATE PEOPLE BUSINESS PURPOSE AMOUNT

SECTION 6 MISCELLANEOUS DETAIL AMOUNT

TOTAL EXPENSES

SECTION 7 REIMBURSEMENT SUMMARY AMOUNT ACCOUNT(S) DEPARTMENT AMOUNT COST CENTER

TOTAL FROM ABOVE

MINUS CASH ADVANCE RECEIVED

AMOUNT DUE ASSOCIATE

DESTINATION & PURPOSE OF TRIP


ShoeBiz

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Company:

Client:

Contact:

Project:

Project number:

Date:

Non–Disclosure Agreement

I agree that, in consideration for access to information submitted to me by [client if they are disclosing] I will:

1. Keep all information provided to me and [design firm] relating to business and/or marketing plans, discussions, research, graphic design and marketing related programs and processes under development in strict confidence. 2. Disclose this information solely to individuals who have a signed non-disclosure agreement with, or who have express approval from [client], either verbal or written, to receive this information. Understood and agreed this [day] day of [month, year]



Bibliography

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Graphic Design Essentials: Skills, Software and Creative Solutions by Joyce MacarioHot-Wiring Your Creative Process: Strategies for Print and New Media Designers by Curt CloningerSponsorship: The Fine Art of Corporate Sponsorship/The Corporate Sponsorship of Fine Art by Ryan McGinnesGraphic Designer’s Guide to Pricing, Estimating & Budgeting by Theo Stephan WilliamsLogo Love: A guide to creating Iconic Brand Identities by David AireyThe Graphic Artists Guild Handbook: Pricing and Ethical Guidelines by Eric Millerhttp://www.thearthustle.com/http://www.youdontknowjersey.com/wp-content/uploads/2011/02/seeing-eye-dog.jpghttp://www.artofhustle.com/hustle/getting-paid/http://www.allgraphicdesign.com/salar.htmlhttp://www.clientsandprofits.com/http://www.artisantalent.com/http://www.bls.gov/oco/ocos090.htm#emplyhttp://www.davidairey.com/graphic-design-schools/http://www.guardian.co.uk/news/datablog/2010/jul/15/employment-statistics-university-graduates http://docs.oracle.com/javaee/5/tutorial/doc/figures/jaxb-customInheritance.gifhttp://cllctr.com/image/cedabaf4ea75a1148dbc972f773cf4c9/576http://images.freshnessmag.com/wp-content/uploads//2010/11/sneaker-coloring-book-summary.jpghttp://www.psdeluxe.com/wp-content/uploads/2010/06/graffiti_fonts/amsterdam_graffiti.jpg http://benjaminescobar.com/http://thehundreds.com/http://somerandomdude.net/http://www.aiga.org/standards-professional-practice/http://ohmboyphoto.com/business/http://creativepublic.com/http://www.stonesthrow.com/uploads/images/product/detail/hella-international-exclusive-sky-blue.jpghttp://shop.rockwellclothing.com/http://www.linkedin.com/profile/view?id=19084616&authType=name&authToken=dPoV&goback=.rmg_*1_*1_*1_*1_*1_*1_*1_*1_*1

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