Freelance Designer's Guide by Alan Gonzalez

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We set the standard for Creativity

Freelance Designer’s Guide. Copyright © 2011 by Alan Gonzalez-Suman of [//HB CREATIVE SF>. Forward copyright © by Alan Gonzalez-Suman. All rights reserved. Printed in the United States of America. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles and reviews. For information address [//HB CREATIVE SF> Publishers, 1308 Hayes Street, San Francisco, CA 94117 Designed and Edited by Alan Gonzalez-Suman of [//HB CREATIVE SF> Front Cover Artwork was created with Adobe Illustrator CS5 and a Wacom Intuos 3 Tablet and illustrated by Alan Gonzalez-Suman Graphic Designer’s Guide Chapter Openers and Hand-drawn typography wass created and illustrated with Adobe Illustrator CS5, using a Wacom Intuos 3 Tablet by Alan Gonzalez-Suman This book was designed and laid out using Adobe InDesign CS5. Fonts: New Gothic MT 8/10, 10/12, 24/28.8 and AG Forever Printed in San Francisco by Autumn Express Print House. Printed on Recycled White Paper.

A helping hand for freelance graphic designers

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> RAW DESIGN Raw Design

We set the standard for Creativity

Table of Contents 6

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

108

Bibliography

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 oneâ&#x20AC;&#x2122;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 donâ&#x20AC;&#x2122;t have much of a choice in this city, either working for someone or working for yourself. Wouldnâ&#x20AC;&#x2122;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.

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.

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.

Initial Research Summary 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.

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 â&#x20AC;&#x201C; 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

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

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.

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 13

Value/Relevance/Societal Impact Statement Problem Statement:

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.

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.

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. 18

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 designerâ&#x20AC;&#x2122;s guide that could be reviewed and implemented independently for those in the graphic design field looking to work independently. 19

•

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?

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

•

o o o o o o o o o

o o

Do you know how to properly bid for a project? Do you know proper professional interaction with a client? Do you keep track of your work (time, duration, tasks, dates, updates) Have you interned or worked in the field of graphic design? Do you plan to work for yourself or a company? Do you know how to market yourself, find clients and maintain a relationship with clients? Do you know how to bill a client? Did you learn anything about Freelancing as a designer in school? 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)? Would you like to see the above incorporated into the curriculum of Visual Communications in your school? What do I want to learn? What do you feel least confident about freelancing? What are your strengths and weaknesses as a freelance designer? How do I make it accessible for student to gain proper business knowledge and guidance to succeed as a freelance designer? 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, webbased, 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?

o o o

o o

•

What do you feel least confident about freelancing? What are your strengths and weaknesses as a freelance designer? How do I make it accessible for student to gain proper business knowledge and guidance to succeed as a freelance designer? 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, webbased, 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. Who is my target audience? (Who am I trying to reach?) 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.

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. Who is my target audience? (Who am I trying to reach?) How do you publish a portfolio? •

o o

•

Survey for Student/New Graphic Designers 1. Have you ever done any freelance work before as a graphic designer? a. No b. A couple times before c. 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 independently c. Lack of skill level to be able to execute jobs d. Lack of Confidence e. Never tried to get freelance work 3. When billing a client, do you use an invoice for projects? a. No b. Sometimes c. Yes d. What is an invoice?

84% 12% a.

88%

4% c.

100% 25%

92%

98%

8% b.

2% d.

90%

Survey for Student/New Graphic Designers 4. How do you charge clients? (Please Check all that apply) a. Cash b. Check c. Wire/Bank Transfer d. Paypal e. 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 freelanced b. Never Happens c. Charge a Late Fee (Stated in the Terms & Conditions) d. Bug the client e. Other 6. Have you learned any professional practice knowledge to be able to freelance as a graphic designer, if so where? a. No, never b. In school c. On my own (Internet, Books, Friends, ect.) d. Work/Internships

94% 65% a.

12% b.

84%

77% b.

72% a.

88%

2% b.

60% e.

100%

15%

11%

Survey for Professional Designers 1. How often do you freelance as a graphic designer? a. Never b. 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.

Freelance Designer

Designer/Company

Invoice includes Project Tasks

Invoice includes Terms and Conditions

Charge Clients Hourly or by Project

Charge Clients 50% up front before a project is started

Yael Millar, of Dieline

Yes

Project

Yes

Antonio Carusone, of AisleOne

Yes

Hourly

Yes

Chris Spooner, of Spoon Graphics

Yes

Estimated Hourly Base and Converted to an Overall Project Cost

Steven Snell, of Vandelay Design

Yes

Both

Depends

Alex Peterson, of Pixel Air

Yes

Project

Yes/Depends

Aaron Russell, of aaronrussell.co.uk

Yes

Hourly or Monthly

Yes

28 Yes Including

Usually a third, then collect another third at the

Invoice

Wire Ba fee), P

Wire Ba fee), F applicatio system w

BACS, C

Bank

Designer : Work Ethic

fore a

rd at the

Invoice Payment Methods Include:

Wire Bank Transfers (added fee), Paypal (added fee) or Check

Check

Wire Bank Transfers (added fee), FreshBooks invoice application, integrated payment system with Paypal (added fee) or Check

Paypal or Check

BACS, Check or Paypal (2% Commission)

Bank Transfer or Paypal

Invoice includes deliverables

Yes

Invoice Fee Schedule

Reason for working this way

Yes

This works for me. It spreads the risk yet gives the client (who may be a first time client in many cases) 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 trustworthy by having paid your deposit and even subsequent payments, you must not continue to provide work 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 and overcoming 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 personal emergencies or as we now know – catastrophic economic upheavals – that can upend even a trustworthy and fair client’s willingness or ability to pay you.

Yes

Charging hourly seems to yield a more realistic payment over say a flat rate, unless of course you work 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 are easy to deal with and are more professional than asking for cash.

Yes

Working on a 50% deposit is definitely recommended, from a designer’s point of view it acts as both 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 being more 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.

Yes

I recommend having some flexibility with accepting payment because clients have different preferences. 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 situations that could have been avoiding by charging up front. I had one situation where I didn’t get paid for several 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.

Yes

I think it’s always good to give clients as many options when it comes to charging for projects. And most 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.

Yes

29 I work mostly with bloggers and small business owners. Larger companies may be used to awkward, tedious billing processes, but I don’t want them and my clients don’t tend to either. A flat rate and payment in thirds makes things very simple, so the client (and myself!) know exactly what

Freelance Designer

Aaron Russell, of aaronrussell.co.uk

Yes

Hourly or Monthly

Yes

Invoice includes Project Tasks

Invoice includes Terms and Conditions

Designer/Company

Yes

Charge Clients Hourly or by Project

Charge Clients 50% up front before a project is started

Michael Martin, of Pro Blog Design

Yes

Project

Yael Millar, of Dieline

Yes

Yes Including Changes, Updates, Deliverable Changes Yes

Project

Usually a third, then collect another third at the milestone and then collect the rest at project completion Yes

Jeff Fisher, of LogoMotives

Yes

Both

35% - 50%

Antonio Carusone, of AisleOne

Yes

Hourly

Yes

Both: 1/3 Upfront - 1/3Yes Approval - 1/3 Final or 50 Upfront and 50 Final

Chris Spooner, of Spoon Graphics Leslie Tane, of Leslie Tane Design

Yes Yes

Estimated Hourly Base and Converted to an Overall Project Project Cost

Steven Snell, of Vandelay Design

Yes

Both

Depends

Gino Orlandi, of You the Designer

Yes

Project

Yes

Alex Peterson, of Pixel Air

Yes

Project

Yes/Depends

Brian Yerkes, of Brian Joseph Studios

Yes

Project

Yes

Aaron Russell, of aaronrussell.co.uk

Yes

Hourly or Monthly

Yes

Bank

Invoice

Wire Ba fee), Pa

Wire Tran

Wire Ba fee), F applicatio Cash, C system w

BACS, C

Payp

Bank

Commission)

Payment options are more for my own convenience really but no harm in making your preference known to the client.

Designer : Work Ethic

fore a

rd at the project

nal or 50

Bank Transfer or Paypal

Yes

Invoice Payment Methods Include:

Invoice includes deliverables

Invoice Fee Schedule

Paypal Wire Bank Transfers (added fee), Paypal (added fee) or Check

Yes

Wire Transfer, Check or Money Orders

Yes

Check

Yes

Wire Bank Transfers (added fee), FreshBooks invoice application, integrated Cash, Credit Cards orpayment Paypal system with Paypal (added fee) or Check

Yes Yes

Paypal or Check

Yes

Paypal

Yes

BACS, Check or Paypal (2% Commission)

Yes

Paypal or Credit Card

Yes

Bank Transfer or Paypal

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 possibly can be, and that includes how I take payment. It’s essential to protect yourself when dealing with new 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 with Reason working this way flexibilityfor and understanding. I work mostly with andrisk small Larger mayclient be used to This works for me. It bloggers spreads the yetbusiness gives theowners. client (who maycompanies be a first time in many awkward, billing processes, but I don’t want and my designer clients don’t tend to A flat cases) thetedious option of not paying everything at once tothem an unknown / studio. It’seither. a pretty fair rate and payment thirds advice makes is things very simple, sohas the ‘proven’ client (and myself!) know what process. The onlyinadded that even if a client themselves to be exactly trustworthy toby expect and when expect and it. Before we even begin, they can getmust ready set asidetomoney for having paid yourtodeposit even subsequent payments, you nottocontinue provide the second payment. I’ve of never had any trouble getting paid onastime way (And I don’t go/ fee onto work into future phases a project before getting payments per this the signed agreement the next stageIof the learned project without paid whatever this point.your Great incentive schedule. have this thebeing hard way. Trust me –was it’s owed worthto swallowing pride and to paymoving on time!). overcoming any fear of confrontation and not forward on a project until you get payment as per your mutual agreed-upon contract. Many unexpected things can come up – even personal emergencies or as we now know – catastrophic economic upheavals – that can upend even a My methods have trustworthy worked for me clientele for 30 years now. a number andand fair my client’s willingness or ability to Ifpay you. of future clients requested other options they might be considered. I would recommend that others make use of the methods most effective in resulting in efficient and timely payments to their own business. Charging hourly seems to yield a more realistic payment over say a flat rate, unless of course you work less flat rate,over which almost happens. Also it’sit.a I’ve good idea that to ask for a Working thisthan waythe hastotal developed time, and never I definitely recommend found charging percentage of the payment uphour frontleaves just in much case the to bail and on you. And cheques are by the project versus by the lessclient roomdecides for confusion misunderstandings. easy to deal with and are Imore professional than that asking for cash. There is a clause in my contracts (which ALWAYS use) stating additional work not covered

in the contract will be billed for separately and will not be commenced until the client gives approval. That way deposit I don’t get stuck doing a lot of extrafrom workathat’s not billable. by the Working on a 50% is definitely recommended, designer’s point ofCharging view it acts as hourboth seems counter-intuitive to me, since you make less money you may workbe quickly andtoefficiently. protection and a deterrent against unscrupulous clientsifwho tempted skip I absolutely recommend getting thewho first has payment up front. out with people who are payment. I have yet to find a client any issue with This an upreally frontweeds payment, most being not serious aboutand theeven work.expecting I used to to start as soon as I gotpoint the verbal gothis ahead, I more than happy payonupprojects front. From the client’s of view also but helps don’t do that anymore. Signing a contract and making anservice initial payment show that the client is show how the designer values their and work. 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, flexibility with accepting payment clients have but II recommend do think thathaving clients some sometimes don’t realize how much prepbecause work, research, and different forethought preferences. I also charging although as Ireally mentioned I need more go into the beginning of arecommend project, so they don’tupfront, consider that you’re “working” until they see consistency in the percentage. When I first started freelancing I got into some difficult situations some comps. that could have been avoiding by charging up front. I had one situation where I didn’t get paid for several 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. PayPal allows me to being projects quicker and have access to funds faster, and the dowpayment and requiring the final payment before final files are sent ensure you do not get cheated. I think it’s always good to give clients as many options when it comes to charging for projects. And most importantly you have to be as clear as possible to let then know exactly what they’re paying I would up front because it asks client toorput commitment into the for andrecommend in as muchrequiring detail as 50% possible so there are no nastythe surprises disagreements later. project. Atoptions a certain project, you arereally working whatinthe initial your 50% preference will cover, Payment arepoint moreduring for mythe own convenience but over no harm making so for the remainder of the project, youknown are then showing to the client. your commitment to the client, as you work towards the final payment. This keeps the playing field level for both of you and provides a nice basis for a working relationship. 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 possibly can be, and that includes how I take payment. It’s essential to protect yourself when dealing with new 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 with flexibility and understanding.

Freelance Designer :

Designer/Company

Invoice includes Project Tasks

Invoice includes Terms and Conditions

Charge Clients Hourly or by Project

Charge Clients 50% up front before a project is started

Anthony Zinni, of Positive Space Blog

Yes

Project

Yes, unless its a large project I charge 25%

Jacob Cass, of Just Creative Design

Yes

Project

Yes

Lauren Krause, of Creative Curio

Yes

Project

Yes

Jonathan Selikoff, of Selikoff+Company

Yes

Depends, but usually charge client a flat rate, per project basis and with a defined project scope.

Depending on the size of the project fee I will usually charge 33% to 50%

Vivien Anayi, of Inspiration Bit

Yes

Project

50%

Charge clients 50% upfront

Adelle Charles, of Fuel Your Creativity

Yes

Project â&#x20AC;&#x201D; Usually give the Client 2-3 Mock Ups, Revisions then the Final. Anything after that is charged hourly.

Graham Smith, of ImJustCreative

Yes

Flat Rate Fee by Project

Invoice

Check

Checks makes it

Check

Designer : Work Ethic

fore a

e 25%

ee I will

Invoice Payment Methods Include:

Invoice includes deliverables

Invoice Fee Schedule

Reason for working this way

Paypal

Yes

I would recommend a pricing strategy similar to mine because the goal of it is to deliver work of the 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 possible quality and hopefully create some ROI for my clients.

PayPal

Yes

I would recommend working this way as there is less risk for you and the client and I would recommend getting your clients to pay the PayPal fees as it sure does add up in the long run.

Check

Yes

It’s always best to have an initial down payment; it shows that the client is serious and it gives you incentive to take the project seriously, too. The down payment and milestone payments also help offset 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.

Check or Paypal

Yes

I go with what seems to work for me. I’m a solo practitioner, which often can give people the impression 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.

Yes

I would recommend everyone to find what works best for them. I always try to accommodate every client 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 total cost 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 for me. 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?

Yes

Check, Money Transfers, Paypal

Checks or Paypal. Whatever makes it easier for the client.

Check, Money Transfers, Paypal

Yes

As I mentioned earlier, I like to portray a easy going way of working from the outset. It’s something that 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 that they 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 come across someone that I don’t get a truly good vibe about then I will cautiously negotiate a

Freelance Designer Adelle Charles, of Fuel Your Creativity

Yes

Designer/Company

Invoice includes Project Tasks

Invoice includes Terms and Conditions

Anthony Zinni, of Positive Space Blog

Yes

Graham Smith, of ImJustCreative Jacob Cass, of Just Creative Design

Lauren Krause, of Creative Curio

Jonathan Selikoff, of Selikoff+Company Brian Hoff, of The Design Cubicle

50%

by Project

Charge Clients 50% up front before a project is started

Yes

Project

Yes, unless its a large project I charge 25%

Yes Yes

Flat Rate Fee by Project Project

Charge clients 50% upfront Yes

Yes

Project

Yes

Small Projects I as for 50% up front. Larger Projects, I ask for 33% upfront. Once the scope and details of the project is detailed in writing, I Depends, but usually charge nicely let them know, verbally and in writing, that client a flat rate, per project Depending on the size of the project fee I will the quote is just an estimate and other factors that basis and with a defined usually charge 33% to 50% play beyond the initial scope of the project will be project Flat Rate Feescope. by Project compensated accordingly. Typically the quote is right on the money or falls within 10-20% of the estimate. Experience will help you gain a better feel for how long projects typically take, so my estimates are slowly becoming exact rates more or less. Project 50%

Checks makes i

Invoice

Check

Yes

Vivien Anayi, of Inspiration Bit

Yes

Graham James, of FTC - Creative Director, Graphic Designer

Yes

Project

50%

Che

Yes

Project â&#x20AC;&#x201D; Usually give the Client 2-3 Mock Ups, Revisions then the Final. Anything after that is charged hourly.

50%

Checks makes i

Adelle Charles, of Fuel Your Creativity

Yes

Project â&#x20AC;&#x201D; Usually give the Client 2-3 Mock Ups, Revisions then the Final. Anything after that is Charge Clients Hourly or charged hourly.

Yes

Ando Caulfield, of FTC - Creative Marketing, Photographer, Filmer

Yes

Project

0% I don't ask for anything upfront, I probably should, but I usually ask how much I would be getting for the overall Project.

Graham Smith, of ImJustCreative

Yes

Flat Rate Fee by Project

Charge clients 50% upfront

Chec

Check

You know usually project. E ve done jo by fre equipmen every

Check

Designer : Work Ethic

fore a

e 25%

Larger he scope writing, I ting, that ee I will actors that ect will be quote is % of the a better , so my es more or

robably ould be

Checks or Paypal. Whatever makes it easier for the client.

Invoice Payment Methods Include:

like to save some money by paying on time?

Yes

Invoice includes deliverables

Yes

Invoice Fee Schedule

Paypal

Yes

Check, Money Transfers, Paypal PayPal

Yes Yes

Check

Yes

Check or Paypal

Yes

Check or Money Order

Yes

Check, Money Transfers, Paypal

Yes

Check, Cash, Paypal

Yes

Checks or Paypal. Whatever makes it easier for the client.

Yes

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 Check, Money Transfers, Paypal

Honestly this setup works for me and I know every creative person has a different way of handling clients. I think it depends on your workflow if “my” way would work for you or not. I like it because everything 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 are for working thisofway aware of up front youReason usually have less chance “skirting around issues”. I would recommend a pricing strategy similar to mine because the goal of it is to deliver work of As Ihighest mentioned earlier, to portray easy going of working from the outset. It’s something the quality. AfterI like making sure toa mitigate anyway potential risk, my billing processes are based thatonhas workedbeneficial for me forrelationships a while and with not once have I been Not to possible say it won’ mutually clients. They allowtaken me toadvantage deliver theof.highest t of course, but so far so good.and I don’t like laying down to ROI manyforground rules, especially with a new quality hopefully create some my clients. client, I find this can have a positive effect on the professional relationship. If the client feels that they are trusted themselves it can really help open things up to a different level, and this can be so I would recommend relationships working this way there lessforrisk for youfuture and the client and I would crucial in professional as it as sets the is tone possible projects. If I ever come recommend getting your to pay thegood PayPal as itthen sureI will does add up innegotiate the long arun. across someone that Iclients don’t get a truly vibefees about cautiously reasonable payment structure, but one that keeps things relatively flexible but not so flexible that I endbest up with eggan oninitial my face or worse. Soititshows is oftenthat on the a client basis, so far, It’scould always to have down payment; clientbyisclient serious andbut it gives you mosttoclients have been seriously, totally trustworthy fantastic. Just don’t drop your guard. incentive take the project too. The which down is payment and milestone payments also help offset 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. I go with what seems to work for me. I’m a solo practitioner, which often can give people the impression that I’m not very organized. I might not be, but I try to project a level of competence, Cheque moneyhaving order, through my interactions, deemed be more of the said, clients and thator includes my contract and paymenthave terms set up to front. That being if achoice, client but on the downside can waste time waiting for payments. PayPal be for open. me seems more asked for some othermore option thatwhile sounded reasonable, I’d certainly logical, but for some clients the idea of transferring money to someone online is a bit scary – that’s where trust comes in to play. I would recommend everyone to find what works best for them. I always try to accommodate every client 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 total cost 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 for me. I find this method encouraging, rather athan thesure client fees. Who Depends on themore project. If it’s a logo…it’s flat charging rate. Make itslate something likewouldn’t 3 like to save some money paying on Pick time?one then you get 5 different looks/proposals/recommendations for logo…you get by 5 redesigns.

updates. 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. Honestly this setup works for me and I know every creative person has a different way of handling Pick one then you get 5 different updates. 50% is upon the final of the project. clients. I think it depends on your workflow if “my” way would work for you or not. I like it because everything 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 are It’s differentaware for everything; just usually dependshave on the and terms and conditions of up frontit you lessproject chance of your “skirting around issues”. 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. Its hard when you deal with clients that try to stiff you after a project, I don’t know. What can you do? In my As mentioned earlier, I like easycountries, going wayit’s ofhard. working the for outset. something lineI of work, some people aretoinportray whole aother I gotfrom stiffed a jobIt’s in Japan one that for me a while and not The oncegood havething I been taken advantage of. Not to say it paid won’ timehas thatworked finally paid mefor over a year later. about that one was they eventually t of course, but so far so good. I don’t to manyupground especially with a new me in Yen, which at the time Yen like waslaying strong,down so I ended makingrules, an extra $700 on that client, I find this can have a positive effect on the professional relationship. If the client feels particular job. I suggest making a Paypal account. Paypal accounts are another option forthat they are trusted themselves can really help open things for up people to a different payment.itMake it as easy as possible to paylevel, you. and this can be so crucial in professional relationships as it sets the tone for possible future projects. If I ever come across 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 I could 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.

GRAHAM JAMES Art Director/ Clothing Designer

Experience JOB : Art Director PLACE : FTC PERIOD : Aug 2004 - Present JOB : Graphic Designer PLACE : Banana Republic PERIOD : May 2005 - Nov 2005 JOB : Art Director PLACE : Banana Republic PERIOD : Jan 2004 - Dec 2004 JOB : Art Director PLACE : Highway One PERIOD : 1996 - 1998

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 star ting 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 cer tain 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 payment methods) 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 a client, 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 me more of the business side of things, especially going to The Academy of Ar t. 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.

Benjamin Escobar Senior Designer/Freelance Designer Contract Designer for The Hundreds

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 itâ&#x20AC;&#x2122;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 star ting a project I will usually specify if a cer tain amount is needed upfront. Also, I will specify that a payment is needed at latest 30 days after ar twork is completed & turned in (net 30).

What fees do you include in your invoice and why? I have set prices for cer tain projects, for example t-shir t 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 par ties on what work will be done, for what amount, and when it will be completed.

Michael Blumenfeld Freelance Photographer/Retoucher

Do you freelance as graphic designer? 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 payment methods) 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 inhouse 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, adver tising, 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 star ted 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.

Ando Caulfield Freelance 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.”

Do you freelance as graphic designer? 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 ar ticle, 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 payment methods) 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 of my 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 par ticular 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 star t 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.

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 substance, 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 could help organize and manage the users business, 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 format 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 obliterate the confusion behind the process of project translation, through the design process, to final product and lastly, project payment.

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.

User Analysis 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, payment 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.

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.

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 transportation 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.

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.

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 workflow 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.

Invoicing Software

Platform

Price Point

Languages Offered

http://www.xininvoice.com/

PC & Mac

$27.99

English, Chinese, Malay, Slovenian, Spanish

http://www.nchsoftware.com/invoice/index.html

PC & Mac

Free

English

http://quickbooks.intuit.com/pro/features/

PC & Mac

$229.95

English

FreshBooks

www.freshbooks.com

iPad

Free Trial

English

TapInvoice

http://itunes.apple.com/us/app/tapinvoiceinvoicing-software/id384349738?mt=8

iPhone & iPad

$4.99

English, French, Spanish, German, Italian, Portuguese

Program

PC & Mac

Package Deal

English

http://www.iphone-invoice2go.com/

PC & Mac

$10.49

English, German, French, Spanish, Italian

https://lessaccounting.com/

PC & Mac

$30 Per Month

English

http://www.blinksale.com/

PC & Mac

$0-45 Per Month

English

http://www.simplyinvoices.com/

PC & Mac

$0-25 Per Month

English

XinInvoice Express Invoice QuickBooks PRO

Microsoft Office Invoice2go LessAccounting Blinksale Simply Invoices

Create Quotes

Web Address/Software

ered

Malay, nish

panish, rtuguese

French, an

Invoicing Software Creates Invoices, Quotes and Orders

Automatically sends Mobile Access Backup invoice Send/Fax Invoice statements to overdue (iphone, android, data and from Program customers ipad, ect.) recovery data

Allows to configure layout: logo, font, alignment, footer, comments, ect.

Sales Chart

Inventory Popularity Reports

100%

50%

100%

50%

100%

Ca Mu

nvoicing Software Matrix Allows to configure layout: logo, font, Invoicing Sales Software Chart alignment, footer, comments, ect.

Inventory Export Reliable Manage Customer, Popularity Web Capabilities Address/Software & Records for Tax Vender Platform and Reports Multiplatform Time Employee Data

Offers Online Price Point Banking

Invoice Clients in Customer Languagesdifferent Offered Support currencies

PC0& Mac

$27.99 0

English, Chinese, Malay, 0 0 Slovenian, Spanish

http://www.nchsoftware.com/invoice/index.html 0 0 0

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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.

Designer’s Work Flow: 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. Reminder for approvals The Meeting a. Client approaches Designer or vise versa b. Ideas and visions are shared Information Exchange a. Contact Information i. Business Card ii. Phone Numbers iii. Web Address b. Portfolio i. Physical Project ii. Website 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 61 organized Contracts a. Protection

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.

628. 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

b. Terms and Conditions 5. Contracts c. The designer should obviously come up with their a. Protection standardized contract in terms of protection and b. Terms Conditions record and keeping c. The designer up where with their 6. Initial Meeting —should This isobviously a formal come meeting the standardized contract in terms of protection and client is interested in what you as a designer can bring record keeping to the table. 6. Initial Meetingof— This Information, is a formal meeting a. Exchange Ideas, Vision where the client is interested in what you as a designer can bring i. Learn Business, Client, background to the table. ii. Ask Questions about company a. Exchange of Ideas, Information, Vision and 7. Payment Policies — Establishing policies i. Learn Business, Client, background accepting payments is the more uncomfortable side of ii. Askdesign, Questions about company freelance but you have to do it in order to get 7. Payment Policies — Establishing policies and upfront paid – Establishing a payment process of 50% accepting payments is the more uncomfortable of and 50% upon project final should become partside of the freelance design, but you have to do it in order to get payment policies you should become used to working paid Establishing a payment process of 50% upfront with. –This method will also save you plenty of time and 50% upon project final should become part rather then wasting it on clients that aren’t as of the payment policies you should become used to working committed to a project. 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 8. Designer Before the initial questions.Research After the— initial meeting and research, you have athe designer should do some basic research the better idea of what is expected of you as about a designer client/project/company to prepare for any possible and what you need to know for the specific project. questions. After initial meeting and you have a a. Research the the Client/Company/Project better idea of what is expected of you as a designer b. Research Inspiration and what you need to know for the specific project. i. Colors a. Research the Client/Company/Project ii. Layout b. iii. Research Inspiration Feeling/Emotion i. Colors iv. Typography ii. Layout 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

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

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

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

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.

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. 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.

What is an Invoice?

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

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

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 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

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 67 iv. Travel fees v. Kill fees

4. 5. 6. 7. 8. 9.

Wants Expectations Media Format Presentation Delivery/Due Date 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 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 68 project b. Payment i. This is a legal bill the client and designer have

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

agreed upon that insures that the discussed and agreed upon price for the designerâ&#x20AC;&#x2122;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 Containsâ&#x20AC;Ś 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. 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

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 69 a. Same as above 3. Digital Online Meeting Center a. Same as above

What we should know?

What to sell?

What we want to happen?

Why they should buy?

Who to sell?

How to sell?

Whatâ&#x20AC;&#x2122;s our approach?

What must be included?

Information Seeking Strategies

KEY FACT(S): “What we should know”

TARGET AUDIENCE: “Who to sell”

PRIMARY MESSAGE: “What to sell”

TONE AND EXECUTION: “What’s our approach”

OBJECTIVE: “What we want to happen”

POSITIONING: “How to sell”

COPY PLATFORM: “Why they should buy”

MANDATORIES: “What must be included”

This is background information or research pertinent to the execution of the creative. It’s the frame of reference.

This what we want the creative to accomplish. It’s a specific communications objective, not a marketing/sales objective.

This is a profile of the audience we are trying to reach. It’s a demographic and/or psychographic portrait of the customer.

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.

This is the main benefit (not a feature) that the customer receives from the product or service. It’s the unique selling point.

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.

This dictates characteristics that should be reflected in the copy and design. It’s the overall style.

These are specific copy points or design elements that must be included in the creative.

AIGA Standards of professional practice The 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 par ticular 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 oppor tunities should suppor t 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 proper ty 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 proper ty 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, adver tising or publicity must not contain deliberate misstatements of competence, experience or professional capabilities. It must be fair both to clients and other designers.

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 por tfolio 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 por trayal 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 goodprojects 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 proper ty 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 suppor t the principles of free speech, freedom of assembly, and access to an open marketplace of ideas and shall act accordingly.

Alan Gonzalez DAI 505 - Research & Design Professor Linder

Design Influence Mapping Designer/Client Introduction Guide

2. 3.

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 Computer Application a. Same as above 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 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 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 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 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

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

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 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 78 iii. This could be physical or digital to easily change out or update a project to work with the correct person

ii. iii. iv. v.

Could be simply redesigned or designed to make it more personable between users It could be fun to interact with Inexpensive 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)

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d. Recyclable e. Simple to send, fax, organize, change, update, scan Whiteboard a. Guideline and checklist for design process b. Expensive i. Not simple to change c. Not very compatible Pocket printed guide a. Simple, clean, easy to transport, presentable b. Color coded c. Not too expensive to print or update 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 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 Stickers 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 Colored pencils, crayons or pens (box) a. Color coded project steps i. Organized Structured project projections ii. Guideline, options and options 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 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 didnâ&#x20AC;&#x2122;t think about ii. No budget in ideas and brainstorming 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 Music play list or guide a. Explains steps, colors, hierarchal significance

i. ii.

Organized Structured project projections 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 didnâ&#x20AC;&#x2122;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

Coffee Cup Sleeve Template

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.

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 viewerâ&#x20AC;&#x2122;s attention.

CA o,

San F

e B o i h

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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 â&#x20AC;&#x153;O-EXCLUSIVEâ&#x20AC;? 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

ShoeBiz Locations Shoe Biz + adidas Concept Shop 1420 Haight Street San Francisco, CA 94117 P: 415-861-3797 F: 415-861-3005

Super Shoe Biz : Fashion 1420 Haight Street San Francisco, CA 94117 P: 415-861-0313 F: 415-861-3005

Store Hours 11AM – 7PM Mon — Sat 11AM – 7PM Sun

Store Hours 11AM – 7PM Mon — Sat 11AM – 7PM Sun Shoe Biz – Noe Valley 3810 24th Street San Francisco, CA 94114 P: 415-821-2528 F: 415-861-3005 Store Hours 11AM – 7PM Mon — Sat 11AM – 7PM Sun

Shoe Biz II – DinoStore : Sneaker Pit 1553 Haight Street San Francisco, CA 94117 P: 415-861-3933 F: 415-861-3005

Shoe Biz – Mission 877 Valencia Street San Francisco, CA 94110 P: 415-550-8655 F: 415-861-3005

Store Hours 12PM – 7PM Mon — Sat 11AM – 7PM Sun

Store Hours 12PM – 7PM Mon — Sat 12PM – 6PM Sun

Job #:

Contact Person:

Project Name:

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Phone #: Date:

Email: Notes:

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

CLIENT SIGNATURE

DATE PRINT

NAME/TITLE

DESIGNER SIGNATURE

DATE PRINT

NAME/TITLE

San F

Company Name:

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Creative Strategy

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.

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.

Client:

Project number:

Contact:

Date:

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The sooner we can get your approval, the sooner we knockout this project

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Project Approval

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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.

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Print Questionnaire

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

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Bibliography Graphic Design Essentials: Skills, Software and Creative Solutions by Joyce Macario Hot-Wiring Your Creative Process: Strategies for Print and New Media Designers by Curt Cloninger Sponsorship: The Fine Art of Corporate Sponsorship/The Corporate Sponsorship of Fine Art by Ryan McGinnes Graphic Designerâ&#x20AC;&#x2122;s Guide to Pricing, Estimating & Budgeting by Theo Stephan Williams Logo Love: A guide to creating Iconic Brand Identities by David Airey The Graphic Artists Guild Handbook: Pricing and Ethical Guidelines by Eric Miller http://www.thearthustle.com/ http://www.youdontknowjersey.com/wp-content/uploads/2011/02/seeing-eye-dog.jpg http://www.artofhustle.com/hustle/getting-paid/ http://www.allgraphicdesign.com/salar.html http://www.clientsandprofits.com/ http://www.artisantalent.com/ http://www.bls.gov/oco/ocos090.htm#emply http://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.gif http://cllctr.com/image/cedabaf4ea75a1148dbc972f773cf4c9/576 http://images.freshnessmag.com/wp-content/uploads//2010/11/sneaker-coloring-book-summary.jpg http://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.jpg http://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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