Welcome to GRPH 310: Design Practices

These pages are provided as an outline for GRPH: 310 Design Practices. At right you will find links to the material covered each week throughout the course, as well as links to each assignment, distributed via Adobe PDF files. Though this site is updated frequently, all materials and assignments are subject to change at Instructor’s discretion.

Things to know, remember, and understand.

This material is a supplement to class and does not replace class attendance and participation. For more information regard attendance policies, please refer to the Marietta Student Handbook.

Assignments for class will be assigned in accordance with covered material. PDFs outlining each assignment will be made available on this site (at right) throughout the semester.

Materials & Text(s)

See Syllabus for complete • details.
Syllabus_310_fall07.pdf

Text Books: Required.

• AIGA Professional Practices in Graphic Design
• Graphic Artist Guild Handbook 11th Edition
These may be purchased either at the MC bookstore or ordered on line via third party vendors such as Amazon.com.

Noteworthy References: NOT Required.

• AGetting it
The Graphic Designers Guide to Pricing, Estimating and Budgeting
• A Guide to Graphic Print Production (Required Text for GRPH 390)
• Business and Legal Forms for Graphic Designers
• Getting it Right in Print Digital Prepress for Graphic Designers
• Getting it Printed, How to Work With Printers…
Additional information on many of the topics we will cover in class can be found in these books, but they ARE NOT required for class at this time.

$25 lab fee: Required.

This fee is to offset the cost of printing paper and ink used in the computer lab for class assignments.

Devices: Required.

Mac-formatted Zip disks or Jump Drive—to save your work on. You may also archive your work onto CDRWs.

Epson Ink Cartridges: IF Required…

Students will be responsible for buying their own ink. Ink needs to be brought to class when needed. Students are responsible for loading and unloading their own ink from the printers. It is recommended that students store and carry their ink cartridges in an index card box.

Other Places to Buy Epson 1280 Ink

Information about Epson 1280 Printers

Epson Paper: IF Required…

The Classroom printers need compatibale paper to reneder the best quality projects. Students can purchase these papers locally at Parkersburg Office Supply by calling 1-800-525-1951 24 hours in advance and ordering over the telephone. Orders are shipped to the store in a day.

Reading Assignment (PREP)

• TEXT: AIGA Professional Practices in Graphic Design: pgs 297; 275-286
• TEXT: Graphic Artist Handbook pgs 290 – 300

AIGA (American Institute of Graphic Arts) Overview

What is the AIGA
AIGA, the professional association for design, is the place design professionals turn to first to exchange ideas and information, participate in critical analysis and research and advance education and ethical practice.

Benefits to Members
• pool of over 19,000 members / colleagues
• health insurance and business services
• creative resource
• membership fees

GAG (Graphic Artist Guild) Overview

What is the GAG
The Graphic Artists Guild is a national union of illustrators, designers, web creators, production artists, surface designers and other creatives who have come together to pursue common goals, share their experience, raise industry standards, and improve the ability of visual creators to achieve satisfying and rewarding careers.

Benefits to Members
• incredible networking tools
• deep discounts
• access to talent directories and source books
• referral networks and legal services

Other Organizations

American Center for Design
Association of Professional Design Firms
The Design Management Institute
International Society of Graphic Designers (ISGD)
The Advertising Council
The American Advertising Federation

Reading Assignment (RECAP)

• TEXT: AIGA Professional Practices in Graphic Design: pgs 297; 275-286
• TEXT: Graphic Artist Handbook pgs 290 – 300

Reading Assignment (PREP)

• TEXT: AIGA Professional Practices in Graphic Design: Chapter 28: pgs 245-254

AIGA Standards of Professional Practice

Current Published Standards of Professional Practice
This is the “model” for professional performance. It emerged as the result of dialogue among professionals within the industry.
A professional designer adheres to principles of integrity that demonstrate respect for the profession, for colleagues, for clients, for audiences or consumers, and for society as a whole.
These standards define the expectations of a professional designer and represent the distinction of an AIGA member in the practice of design.

7 Major Principles

The policy contains a number of individual guidelines, each of which contributes to advancing certain major principles as outlined below.
1. Designers Responsibility to Clients
2. Designers Responsibility to other Designers
3. Fees
4. Publicity
5. Authorship
6. Designers Responsibility to the Public
7. Designers Responsibility to Society and the Environment

The following was borrowed directly from the AIGA web site and can be verified and reviewed in it’s most current version at www.aiga.org/content.cfm/standards-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 particular trade for a designer to work at the same time for various competitors.

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

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

The designer’s responsibility to other designers
2.1 Designers in pursuit of business opportunities should support fair and open competition.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

7.3 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.

7.4 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.

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

Reading Assignment (RECAP)

• TEXT: AIGA Professional Practices in Graphic Design: Chapter 28: pgs 245-254
• AIGA Current Professional Standards from class discussion

Reading Assignment (PREP)

• No assignment at this time.

Professional Relationships

Establishing professional relationships begins with trust. Designer / Client confidentiality can mean the difference between “just doing design” and “providing a consultative resource” for your client, peers and vendors.

Identifying Professional Relationship Types
Consider the differences among the following and how they relate to events and practices within the industry:
• trust between the client and designer
• trust between designers
• trust between designers and vendors

Where / how do these relationships originate?
• who you know
• marketing yourself
• people talk

Marketing yourself
• frequency
• methods
• obstacles
• management
• your brand
• your client preference / target audience

Knowing who does what in the relationship
• responsibilities
• expectations

The many roles we as designers can play
• design
• educate
• inform
• guide

Relationship types
• consultative / long term
• project based
• regular

The selection process / what clients look for
• talent / expertise
• chemistry
• reputation
• location

Establishing and Managing Trust Within These Relationships

The importance of trust…
Parallel to the trust of a parent —when there is trust between designer and client you are entitled to do some problem solving on your own and you have the latitude to make some of your own decisions.

• trust between the client and designer
(privileged Information)
• trust between and among designers
(mutual respect)
• trust between designers and vendors
(setting consistent expectations, respecting their service, respecting time)

The process of earning trust…
Earned trust comes as a result of consistent behaviors, and established norms
• through use of legal forms and contract agreements
(confidentiality paperwork)
• through practice and demonstration
• through professional conduct

Reading Assignment (RECAP)

• TEXT: AIGA Professional Practices in Graphic Design: Chapter 28: pgs 245-254

Reading Assignment (PREP)

Please take time to familiarize yourself with the content within the following reading assignment, you DO NOT have to read every single page / word.
• TEXT: Graphic Artist Guild Handbook Chapter 6 p 112-115;
• AIGA Aquent Survey Salary 2007:

Salaried Jobs

• typically working for only one company
• work is done as “work-for-hire”
This means that all work created by employees, unless otherwise negotiated, is done as work-for-hire, which gives authorship and all attendant rights to the employer.
• moonlighting or freelancing generally prohibited

Working within a Company

• referred to as “in-house”
• generally maintain a full-time art staff
• may supplement with freelance talent

Independent Agencies / Design Agencies / Firms

• maintains working relationships with multiple clients
• generally work on retainer basis
• may subcontract with freelance talent

1990’s and Downsizing

• agencies favor freelancers & independent contractors
• decreased overhead (salaries / benefits / insurance etc.)
• tax evasion issues

Today’s Working Conditions

Some things to consider along with salary when applying for a job:
• policies
• benefits
• job descriptions
• performance reviews

policies
• reveals much about the working environment and attitude of your potential employer

benefits relative to company size
• basic benefits:
minimum wage
unemployment insurance
workers compensation

• optional benefits:
insurance (medical / life / dental)
paid holidays
vacation

job descriptions
avoid assumptions and carefully review a written description and offer letter before accepting
• job description:
clearly states your role and responsibility
used as a means to measure performance
useful in leveraging new title or salary

• offer letter:
salary
title
start date
benefits

performance reviews
• typically done twice a year
• opportunity to discuss and re-negotiate arrangement
• should be kept confidential

Salary Overview

Factors that may affect salary ranges:
• region / location
• employer size / type
• job title / experience / responsibility
• gender ?

Entry Level Designer
An entry level designer is one to two years out of school and requires mentoring in all aspects of design conception and implementation

• 30,000 (25th %)
• 35,000 (median)
• 40,000 (75th %)

Designer
A designer is responsible for conceptualization and design of graphic applications such as collateral material, environmental graphics, books and magazines, corporate identity, film titling and multi-media interfaces, from concept to completion.

• 37,500 (25th %)
• 44,000 (median)
• 52,000 (75th %)

Senior Designer
A senior designer is responsible for the conceptualization and design of solutions from concept to completion. In some firms, a senior designer directs the work of one or more junior designers, who generate comps and crate layouts and final art. In some cases, senior designers do not manage staff but are designated “senior” because of their experience and authority in decision-making.

• 50,000 (25th %)
• 60,000 (median)
• 70,000 (75th %)

Art Director
The art director establishes the conceptual and stylistic direction for design staff and orchestrates their work, as well as the work of production artists, photographers, illustrators, prepress technicians, printers and anyone else who is involved in the development of a project. The art director generally selects vendors and if there isn’t a crative director on staff, has final creative authority.

• 55,000 (25th %)
• 70,000 (median)
• 82,000 (75th %)

Production Artist
Assists design teams in graphic production for collateral, packaging, display and advertising projects. Should be adept in using software applications such as Quark / InDesign, Illustrator, Photoshop, basic HTML, and Image Ready. Must have solid knowledge of four-color printing process, and be able to pre-flight, collect files and archive materials.

• 35,000 (25th %)
• 41,000 (median)
• 50,000 (75th %)

Production Coordinator
Provides logistical support to production department. Duties may include tracking and scheduling projects; filing summary reports; archiving and pre-flight formatting of collateral; and invoice management. Requires strong organizational skills and a keen eye for detail, as well as knowledge of Quark / InDesign, Illustrator, Photoshop, and project management software.

•28,000 to 37,000

Production Manager
Manages the production of a variety of projects. Duties include project planning, workflow management, vendor negotiations, print buying, cost control, quality control, logistical coordination and press checks. Often supervises traffic coordinators and print buyers; may manage small design studio. Requires expertise in both analog and digital technologies, familiarity with design software applications and project management experience.

• 42,000 to 64,000

Reading Assignment (RECAP)

Please take time to familiarize yourself with the content within the following reading assignment, you DO NOT have to read every single page / word.
• TEXT: Graphic Artist Guild Handbook Chapter 6 p 112-115;
• AIGA Aquent Survey Salary 2007:

Reading Assignment (PREP)

• TEXT: Graphic Artist Guild Handbook; pgs 51-53 ( “Employment Issues” section)

Job Analysis Exercise

Please take time to review and prepare to comment on the job postings as provided here. GRPH_310_JobPosting_Exercise.pdf

Independent Contractors / Freelancers

What is a freelancer?

Defined simply, freelancers are self-employed subcontractors who market their art by the job to several buyers.
That’s very short and sounds very sweet. But beyond the dictionary and in the “real world” a freelancer is also the office manager, secretarial pool, sales staff, marketing department, maintenance and mail room all rolled into one.

The Pluses of Freelancing
• more creative assignments
• more of the type of work you want to do
• more money ???
• no more time clock
• no more 9-to-5

The Minuses of Freelancing
• more demanding
• more hours
• no steady pay-check
• accepting work just to pay the bills

Common Characteristics of Freelancers
• independent spirit
• sense of adventure
• lack of interest in working for somebody else
• great reserves of self-discipline
• good organizational skills

Having What it Takes to be a Freelancer

Only you can answer this question. To help you get there, ask yourself these questions:
• What are you getting out of this? Why are you doing it?
question your motives, and answer honestly

• Do you have the drive and ambition to turn you skill into success?
talent without drive and motivation does not generate income

• How’s your business acumen? or sense?
if you have little or no sense of how to run a business, it’s time to learn—on the job training is not the ideal means for learning these lessons

• Are you self-disciplined?
a poor attitude will cripple your workday, and lackadaisical habits will get you into trouble quickly

• Are you decisive?
as a freelancer—working for you—you’ll be making all the “big decisions” and not to mention, taking responsibility for the consequences of your decisions

• Can you tolerate a fair amount of rejection?
unfortunately, every freelancer will face rejection at some point, the key is not to take it personally, and to learn from each experience

• Do you thrive on competition?
after all, competition in free enterprise is the American way, and by the way, haven’t you noticed that you are surrounded by talented, hard-working peers in the same field

• How do you handle stress?
given the amount of tension associated with freelancing, you may find it handy to become familiar with words and phrases like… grace under pressure… flexibility… rolling with the punches… shooting from the hip

• How’s your bankbook?
in times of low pay or no pay, can you support yourself and your business with your personal banking account

• Do you mind working alone?
synergy is often and advantage in creative-type jobs, and making opportunity to experience this will be even more important if work for yourself

Freelance vs. Permanent

Determining Employee Status
The IRS’s twenty factor control test used to clarify the distinction between employee and independent contractor / freelance status:

Is the person subject to the control of or by the firm?

1. Instructions:
If the worker is required to obey the firms instructions about when, where and how work is to be performed, they are an employee.

2. Training:
Training a worker suggests that the worker is an employee.

3. Integration:
If a workers services are part of a firms operations, this suggests that the worker is subject to the firm’s control, an employee.

4. Personal Services:
If the firm requires tht the service be performed in peron, this suggests control.

5. Use of Assistants:
If the firm hires, directs and pays for the worker’s assistants, this is an indication of employee status.

6. Ongoing Relationships:
If the relationship is ongoing, even if frequent work is done on irregular cycles, the worker is likely to be an employee.

7. Fixed Hours of Work:
That suggests the worker is an employee controlled by the firm.

8. Full-time Work:
If the worker is with the firm full time and restricted from taking on other work.

9. Work Location:
If the firm requires that the worker be at the location of the firm, that suggests employment.

10. Workflow:
If the worker must conform to the routines, schedules, and patterns established by the firm, that is consistent with being and employee.

11. Reports:
A requirement that reports be submitted, oral or written, suggests employee status.

12. Manner of Payment:
Payment by the hour, wee, or month suggests an employee.

13. Expenses:
Payment of expenses by the firm implies the right to control company expenses and this suggest employment status.

14. Tools and Equipment:
If the firm provides tools and equipment, it suggests worker is an employee.

15. Investments:
If the worker has a significant investment in his or her own equipment, that implies being an independent contractor

16. Profit or Loss:
Having a profit or loss (due to overhead, project costs,and investment in equipment) is consistent with being an independent contractor.

17. Multiple clients:
Working for many clients suggests independent contractor status.

18. Marketing:
If the worker markets his or her services to the public on a regular basis, that suggests independent contractor status

19. Right to Discharge:
If the firm can discharge the worker at any time, that suggests employment.

20. Right to Quit:
An employee may quit at any time without liability.

Still not sure? Freelancer or Employee?

If the firm believes a worker IS a freelancer or independent contractor, the two parties should negotiate a carefully worded contract that accurately describes the agreement and it’s legal binding.

Reading Assignment (RECAP)

• TEXT: Graphic Artist Guild Handbook; pgs 51-53 ( “Employment Issues” section

Reading Assignment (PREP)

• TEXT: AIGA Professional Practices in Graphic Design; chapter 8; pgs 71-85

Interviewing, Hiring Process & Expectations in the Workplace

Successful business administration is in large part based on successful management of employment matters like:
• Determining the needs of the organization
• Locating and attracting the talent.
• Interviewing and hiring
• Maintaining constructive relationships
• Firing

Clearly, in a creatively-driven business, the firm’s people–i.e. you–are it’s greatest asset. You’re time or contribution each day is– or should be– at least 80% billable. Probably more!
Therefore, having the right employee, and likewise having a successful employment relationship with the employee/designer is of particularly high interest to the firm.

Common Obstacles

Design firms, both large and small, seem to be consistently weak in the area of Human Relations.
• Few have a standardized or documented process for making employment decisions.
• Most do not have properly trained staff for recruitment or management of employees.
• Few are consistent and efficient with their planning, tracking, hiring and management documentation protocol(s).
• Identifying with “creative types” and managing them, poses a unique set of challenges.

Job Descriptions, Interviewing and Hiring

Respect for these priorities should be established and observed from the very beginning of the relationship.

Job Descriptions:

An essential part of the process, yet rarely observed, the purpose of writing a job description:
• forces clarification of qualifications needed for the job
• helps prevent problems down the road
• forces the firm to question the realism of their expectations
• helps the interviewer identify the “right” skill-set and benchmark comparable traits of candidates

Interviewing:

Inevitably there are some common guideposts that will come into play time and again, for both the candidate and potential employer:
• Primary Criteria:
(skills, titles, money, quality of work)
• Secondary Criteria:
(environment, work ownership, client access)
• Personal Criteria:
(personalities, ambition, culture)

Hiring:

Joining a firm in an at-will or contractual status; and/or a freelance or permanent employment basis, knowing the difference.
• At-Will Employment
employer reserves the right to change conditions of employment, or to discharge the employee at any time for any nondiscriminatory reason
• Contractual Employment

• Freelance
i.e. the flexible workforce
• Permanent

Promotions, Titles, Salary & Profit Sharing

To most, the incentive of increased earning potential and improved position within the organization are the most powerful. Offering this system comes with a system of checks and balances within the structure of the organization you hire into.
• Larger Firms (more standardized / point grade system)
• Smaller Firms ( simplified / salary and title connection)

Increased Earnings

These promotions and levels of increased earning are generally attained through one or more of the following:
• duration of service commitment
• notable or remarkable accomplishments
• performance consistency
• experience

Is the “Title Bone” Really Connected to the “Money Bone”?

Some questions that come with this territory:
• What’s the relativity to other staff?
• Is there a financial cap on the position?
• Do title changes automatically mean more money?

Profit Sharing & Incentives

Some companies offer sharing/stock/equity alternatives to annual salary increases.
• loyalty based
• long term
• salary influenced by company standings

Employee Retention

Turnover can be costly to firms, therefore the importance of retaining “valuable” employees is high priority for them. Some creative techniques that may be utilized, in lieu of money, that will preserve or better balance of company overhead are:
• added or increased insurance benefits and types
• health club memberships
• leave of absence or sabbatical
• expense accounts
• transportation
• professional development
• bonuses / profit sharing
• child or elder care
• flextime

The Other Perspective

Likewise there are some good things that come with turnover or employee losses.
• creative growth (newer / fresher talent)
• financial stability (less experience / lower salary)

Termination, Resignation and Firing

• In the best circumstances the decision to part ways will be shared or mutual.
• In other instances the relationship may be terminated due to unforeseen or unfortunate circumstances.
• In the worst cases the relationship is ended by one party only, and is typically a disappointment to the other.
While the first two of these are relatively clear, we must consider the causes associated with the “worst circumstance”, as a matter of preparation for situations that tend to be fairly typical in the work place.

The Worst Case
• What are some potential reasons for terminating a working relationship in this manner?
• What are some things that may be done to prevent this type of circumstance?
• What types of disciplinary measures and processes for resolve are typical in under this circumstance?

Termination, Severance, Nondisclosure and Noncompete Agreements

Similar to a prenuptial, employees and employers may enter into a contractual agreement that addresses how termination of employment will be handled.
These types of contractual agreements often contain a provision requiring confidentiality between the employer and employee. And like prenuptial agreements, these maybe and are typically done at the beginning stages of employment.
These contracts may cover things like:
• grounds for dismissal
• means for disputing the termination
• severance payments and other benefits
• how work will be used

Severance Pay Is money given for a specified period after termination, and may end when an employee is hired elsewhere. In some cases, the amount is conditions upon the signing of a release of claims against the employer.

Samples and Portfolio Issues

• designers should be credited for work done
• designers should always be given samples
• designers shall present the work accurately

Reading Assignment (RECAP)

• TEXT: AIGA Professional Practices in Graphic Design; chapter 8; pgs 71-85

Reading Assignment (PREP)

• There is no new reading assignment at this time.

Assignment: Part 1 Professional Study / Setting Goals

The Interview & What to Expect

So what can you expect to face in the interview process?

Preparation Work

As in any life situation, when you have the opportunity to plan and prepare, and you take advantage of that opportunity. The experience itself will be much more pleasant, predictable, to some degree—more controllable, and in this instance favorable.
Identify what you want and seek it out. What’s important to you.
• Who to you want to work for?
• Where do you want to be?
• How much to you want to make?
• What types of things do you want to be doing on the job?
•

Do your homework. Visualize your encounter. What’s important to them.
• How long has this firm been in business?
• How “big” or “small” are they?
• Who are their clients?
• What are their goals?
• What’s their culture?

Gather and prepare your material. What you have to offer.
• Resumes and cover letters.
• Preparing work and gathering samples.
• Platform for presentation.

First Impressions

What are you communicating when you have your first opportunity to interact with your potential employer. Is this encounter taking place in person, by phone, or by email?
• Physical presence.
• Verbal and Non-verbal communication opportunity.

Presenting Your Work

Once you determine what you’ll be presenting to the client, how you will talk about each piece (i.e. what you will say) can be a pivotal point in the interview.
• Know how to talk about your work.
• Identify opportunities to engage your interviewer.

Closing and Follow Through

Knowing that you’re probably not the only candidate for the job you’ll want to be sure that you make clear your intentions and/or excitement about the job in a way that will leave them with a remarkable impression. It’s easy to get lost between the first and last individuals interviewed.
• Leaving an impression.
• Managing the follow-through.

Reading Assignment (RECAP)

• TEXT: AIGA Professional Practices in Graphic Design; chapter 8; pgs 71-85

Reading Assignment (PREP)

• TEXT: AIGA Professional Practices in Graphic Design; chapter 3; pgs 21-27
• TEXT: AIGA Professional Practices in Graphic Design; chapter 7; pgs 65-70

Getting the Clients, Getting Paid, and Paying the Bills

When we consider the business of freelancing, the notions of where our clients will come from, will they do business with us, how we will get paid and what happens when we don’t get paid seem to be forefront in our minds. And somewhere in the back of our minds we are fantasizing about not having to report to anyone, working when and where we want, and all the great projects we’ll have.

So at some point these ideas begin to collide, at this juncture we have a “Reality Check.” And this is when we either go forth with the notion of freelancing or just decide to go to work for someone else.

This is because the very thought of tracking and winning clients, managing time, and knowing what to charge for our time, managing the resources, and managing a life, begin to make you very ill.

So do you have what it takes

Evaluate yourself and your experience
• do you understand the world of business and finance
• do you or have you had enough experience(s)
• why are you going into business for yourself

Evaluate your design and production skills
• can you render and communicate your concepts effectively
• do you know how to prepare print-ready material
• are you quick and efficient in the way that you work
• do you have good organizational skills
• can you adjust to your client’s style or needs
• do you know when and how to suggest cost effective solutions

Evaluate your business skills
• can you set reasonable goals
• can you make decisions quickly
• can you juggle projects and deadlines
• can you visualize the “big picture” in a situation

Evaluate your entrepreneurial savvy
• are you confident about your abilities
• are you a self-starter
• are you persistent
• can you put the needs of your business first
• do you know when to ask for help

Is the opportunity to succeed there?
Take stock of your potential market.
• is there a niche you can fill
• do you have one major client you can rely on
• what’s your potential market
• what’s your reputation

The Ten Commandments of Freelancing

borrowed from: “Starting Your Career as a Freelance Illustrator or Graphic Designer” By Michale Fleishman
1. Thou shalt learn when to say “no”. If you don’t like the suggestion, work it out amicably. Learn the art of compromise. However, accept the fact that there are actually some art directors who just won’t meet you halfway. These folks are not worth the headaches or heartaches. At this point, you just need to safely get out of dodge with style and grace.
2. Thou shalt be polite, persistent and positive. Always communicate in a professional manner. Listen to your client. Educate your client.
3. Thou shalt strive to consistently increase your skill level and expertise. Grow and learn; get it better than the day before.
4. Thou shalt relax and have confidence in yourself. Nobody’s shooting at you, and your not doing brain surgery on your mom. Believe in yourself, and other will, too.
5. Thou shalt make it a point to have fun. Love your profession. Do what you want, work where and when you want, and work with nice people only.
6. Thou shalt have a personal life. Never feel guilty about making (and taking) time for yourself and loved ones– it’s important.
7. Thou shalt always be honest and ethical. Never promise something you can’t deliver, and remember: Your selling a product, not your soul.
8. Thou shalt be a good business person. With stars in our eyes, we key in on those first four letters in the word “freelancer.” The financial (and physical) costs of running and maintaining you business will quickly alert you to the realities behind the lofty conceptions. Be an informed freelancer: Protect your rights by keeping abreast of the ethical standards, laws, and tax reforms. Stay current with pricing guidelines. Learn effective negotiation skills. maintain excellent records. Don’t start a project without paperwork.
9. Thou shalt not take rejection personally.
10. Thou shalt never miss a deadline. Be late with a job, and the chances are, that particular art director will never call you again.

Getting the Clients

Once you’ve taken stock of what you want to do and where where you stand relative to others doing similar work, you’ll have a better idea of where to direct your marketing efforts.

What aspects of a project or job do you do best?

• managing impossible deadlines
• innovative concepting

What types of clients are in greatest need of that skill?

• good at logo work and identities (look to private sector)
• excellent with print advertising (seek out the local agencies)
• is your style conservative (call on finance and law firms)

Getting your name out there

• New to the area…
• Working with new businesses…
• Networking…
• Volunteering…
• Referrals…
• Memberships and professional organizations…

Fifteen Quick and Easy Ways to Lose Clients

borrowed from: “Starting Your Career as a Freelance Illustrator or Graphic Designer” By Michale Fleishman
1. Be a pest. “Drop by” without an appointment or “pop in” unexpectedly.
2. Don’t return phone calls or answer your mail. Don’t follow up. Delay sending requested samples. In that same spirit, arrive, late for meetings.
3. Push your wares too fast or so hard that you are insensitive to the client’s needs and wants (while remaining overly sensitive to your own).
4. Be over confident; better yet– be arrogant or rude. Always project a negative attitude and unpleasant demeanor.
5. Act intimidated or lace confidence.
6. Give a slipshot, or unprofessional presentation. If you still get the job after this, do sloppy work.
7. Copy someone else’s art, or present work that is not your own.
8. Don’t listen to the client; don’t ask questions; then, don’t follow directions.
9. Overprice. Then, turn in a bill that’s larger than the quote.
10. Whine, whimper, or balk at suggestions.
11. Require the client do more work than is their responsibility.
12. Fluster easily, panic consistently.
13. Promise more than you can deliver; give less than what was asked.
14. Miss a deadline.
15. Do bad work.

Getting Paid & Paying the Bills

Once you have clients, or a plan to get them, figuring out how much money you’ll need. Estimating how much you think you’ll need to earn. If you’ll be able to make ends meet. And Where the money to get started will come from would be your next issue.

The process of Setting Fees

There are fundamental conditions to consider when setting fees.
• Overhead—or the cost of doing business
• Variable Costs—an estimated of the nature and complexity of a project
• Market Conditions—knowing the intrinsic value of the final product

Resources
Regardless of the business size, either freelance designer on their own, or a full-blown agency, long-term success will be the result of detailed, up-to-date information on the consumption of resources:
• staff
• freelance personnel
• supplies
• materials
• outside services

Record Keeping
The business of keeping track of these resources and how best to do so can be determined for you with the help of an experienced accountant.
• time / payables / income
• customized book keeping system / off-the-shelf software

Overhead and Setting an Hourly Rate

The best place to begin is to examine in detail the constant costs of the business or the overhead
Determine your overhead
• rent
• utilities
• equipment (leases)
• office supplies
• business insurance
• salaries
• taxes
• benefits
• professional services (accounting and legal)
• non-billable time (self promotion and administration)
• self-promotion / media

Don’t forget to include profit in th equation. A healthy business will generate about 20% profit each year after all expenses are have been paid.
• profit

When determining your hourly rate it is best that these overhead costs are calculated on an annual basis.
This dollar amount should then be divided by the total number of hours you have estimated are available for billing clients for the year or billable hours
• how many hours do you want to commit to (annually)

The Magic Formula • Annual Overhead (including salary) + Profit = “x” “x” / Annual Billable Hours = Hourly Rate

Hourly Rates From a Business Standpoint

Consider how these figures translate into a situation beyond freelancing, like for example, how a firm determines your hourly rate.

Timesheets and Tasks

Billable or not, most if not all time should be tracked.
• more predictable project / job estimating
• a means for progress reporting (how much time is left…)
• calculate project profitability
• monitor staff productivity

degree of detail
• dependent on management and/ or client’s needs
• task based tracking
• method or issue for inputting

handouts: task list sample(s); timesheet samples(s)

Other Expenses

Materials
• considered as overhead expense
• direct costs may be invoiced to client
• large acquisitions may require PO
Services
• outside services and provisions should be documented
• job spec or brief may be necessary
• all acquisitions should require a PO

handout: purchase order sample(s)

Reading Assignment (RECAP)

• TEXT: AIGA Professional Practices in Graphic Design; chapter 3; pgs 21-27
• TEXT: AIGA Professional Practices in Graphic Design; chapter 7; pgs 65-70

Reading Assignment (PREP)

• TEXT: GAG Handbook for Pricing and Ethical Guidelines; chapter 5; pgs 78-90

Project Estimating and Setting Your Design Fees

The difference between a good estimate and a bad estimate, is the difference between profit and loss.
• The better you understand the project, the better you will estimate the costs.
• NOTE: always build in a certain amount of safety or “padding”

The Basics for Calculating
A. Project Phases-> Tasks x Time + “padding” = Duration
B. Time-> Personnel x Billable Rate(s)= Creative Cost
C. Materials + Services including markups= Production Cost

Project Phases

Although project phases tend to be relatively standardized, the tasks required to complete each phase and the time allotment for each task will be more or less project dependent.
An important part of successful estimating is knowing approximately how long it will take to do each task and the ability to add on just enough time for hitches and breakdowns in the process.

Part I: Pre-Produciton
• initial creative briefings
• competitive research
• concept development
Part II: Design Development
• refinement to concepts based on client input
• application of concept to other components
• tweaking and re-visits up to client approval
Part III: Production of Finished Art
Part IV: Printing / Fabrication of Project

Personnel Factor

Once you have outlined all of the phase or elements of the project and their production requirements, attach to each step the different personnel, their hourly rates, and how long it will take them to complete the task.
• different staff / staff levels = different rates
• different staff / individuals = different time allotments

staff categories / levels
using levels vs. individual staff will help to avoid revealing salary information to anyone within the organization, as well as to your clients
• principals
• senior designers
• junior designers
• production personnel
• administrative

The “Padding” Factor / Contingencies

After adding up the personnel hours/ days; making sure to account for time to prepare for presentations, allowances for client approval processes, delivery requirements, creative direction responsibilities and direct expenses multiply by 15% for contingencies.
• For well defined or “standardized” projects this figure can be lower.
• For vaguely defined or “new” projects this figure should be a little higher.

Out of Pocket Expenses

These are made up of both reimbursable and non-reimbursable costs within a project. The degree to which these may be marked up or reimbursed is a matter of negotiation between the designer or firm and the client.
Generally the following are included in this category:
• illustration
• photography
• copywriting
• prototyping
• outputting
• delivery services
• models and props

Changes and Additions

Changes and additions to projects should be considered separated in project agreements.
The following should be addressed, or included within the project agreement AND discussed with the client prior to starting the project:
• where the project boundaries lie
• what the plan or standard protocol is for making change(s)
(rates, change orders, time allowances, etc)

Negotiating

The cycle of a project is a process that graphic designers will repeat hundreds of times in the life of their careers. The beginning of a project can be marked by the negotiation of terms with the potential client.
Remember that Graphic artists have little professional prupose without a buyer or user of their services. Therefore the client / artist relationship is one of the most important professional relationships a graphic artist can have.

Evaluating the Terms of an Offer

Being able to analyze and evaluate the terms of an offer, understanding the scope of work and the terms of a contractual agreement is crucial.
• avoid the winner-take-all attitude
• be able to articulate your needs in a straight forward manner
• be frank
• be prepared to address budgets
• know the value of the project or relationship
• don’t be afraid to ask questions or raise objections
• be objective

Prepare to Negotiate

Asking the Right Questions
• get the information you need
• prepare an agenda or check list to fill out during the process
• job description / due dates / fees / expenses / ...
Determine Your Own Needs
• know your highest expectations for the job
• set your bottom line
• itemize the things you must have (reasonable deadlines…)
Determine Your Client’s Needs
• most client’s needs extend well beyond the visual solution
Research Your Client

Dealing with Common Tactics

Tactics are used in every negotiation, and it’s important to understand them and not take them personally.
Limited Authority
Tactic: client’s negotiator claims not to have final say
Solution: establish a partnership with this negotiator or kinship
Phony Legitimacy
Tactic: negotiator stats that offer is “standard contract” and cannot be changed
Solution: remember that contracts are working documents and don’t be afraid to strike through unfavorable terms
Emotions
Tactic: anger, threats, laughter, insults
Solution: listen closely for the point of the message and separate it from the style of delivery
NEVER Escalate and emotional situation

Phone Negotiations

Telephone negotiations have both advantages and disadvantages. If you are faced with the circumstance of negotiation of a project over the phone the following rules of “do’s” and “don’ts” will be helpful:
• Do use a simple agenda or checklist
• Do consider preparing scripts to deal with difficult situations
• Do take notes
• Don’t continue the call if the discussion gets difficult
• Don’t feel obligated to accept the offer in the same call
• Do take time to review your notes and consider the project before accepting

On-Site Negotiations

Regardless of whether or not the meeting will take place on “your own turf” , it is important to create an environment that is comfortable and relaxed.
• Always arrive on time
• Be well rested
• Plan and rehearse your presentation
• Refrain from small talk
• Take note or be aware of physical clues
• Listen, and show you are listening.

Deal with Money Last

Although it may have surfaced earlier on in the discussion or even prior to any negotiation meeting, it is best to leave this for last.
It is important to focus on the specific terms of the project first, because they are the very premise for the “bottom line”. Negotiating about money before reaching agreement on such essential items could prove to be a big mistake.
Terms of the project include factors like:
• project description
• degree of difficulty
• usage and re-production rights
• deadlines
• expenses
Things to remember
• Don’t feel obligated to respond right away
• Don’t feel obligated to respond in an absolute way
• Do realize it’s ok to counter offer
• Do be careful of “the ball park estimate”
• Do find out who your competition is

Reading Assignment (RECAP)

• TEXT: GAG Handbook for Pricing and Ethical Guidelines; chapter 5; pgs 78-90

Reading Assignment (PREP)

• TEXT: GAG Handbook for Pricing and Ethical Guidelines; chapter 13; pgs 238-246
• TEXT: AIGA Professional Practices in Graphic Design; chapter 4; pgs 29-50
• TEXT: AIGA Professional Practices in Graphic Design; chapter 5; pgs 51-58

Forms, Contracts & Agreements

Why have them? What’s their function? Who do they serve?
At first glance, contracts may inspire dread, yet they can make business much easier. When the basic components are understood, contracts can protect both the artist and the client.
Contracts provide the common working language by which a job will proceed.

Why Have Contracts?

To avoid confusion and misunderstanding, a well-written contract defines:
• the working relationship of the client and artist
• the use of the finished work
• how changes in the scope of the project will be handled
How do contracts protect?
• Once signed and agreed upon by both parties, it is legally binding.

Seven Basic Types of Contracts

1. Oral Agreement
• often based on based on a simple handshake
• be weary of contradicting memories
• know who you are dealing with
• who will be accountable in the case of a dispute
2. Letter of Agreement or Engagement
• provides more legal protection
• simple with some standard elements
• project description, what is due, when it’s due, usage and ownership, kill fees and so on.
3. Purchase Orders
• now often include assignment of rights
• often require the designers signature
• problematic in their general nature
• likely not sufficient for contracting creative work
4. Working Contract
• comes complete with legal terminology
• can be lengthly or brief
• can be clear and concise or convoluted and confusing
• traditionally for more complex projects
5. Post-Project Contract
• presented at the bottom or back of the artist’s invoice
• presented on purchase order after receiving the artist’s invoice
• do not require two signatures
• not smart business
6. Invoices
• terms are usually pre-printed and non-specific
• minimize intimidation to client
• provide little legal proteciton
• no signatures required
7. Checks
• the “payment in full” trick
• verify that the check was not sent in lieu of full payment

Boilerplate Contracts

• build upon generic or standardized terms
• used for a wide range of project types
• elements may be altered to fit each instance
• also know as “multiple-use” contracts
• works well in accordance with “studio policies”

Retainer Agreements

Graphic artist’s agrees to work for a said client for a specified period of time, on a particular project, for a fee to be paid according to an agreed upon schedule.
• Annual Retainers
• Project-Based Retainers
• Service Retainers

What A Contract Should Include

Contracts in the visual communication industry usually cover four issues: copyright use, payment, legal, and working relationship.
copyright use issues clauses shall be written and value established based upon:
• type of medium or product: where will it appear? (magazine)
• category of use: what is the intent of the use? (advertising)
• geographic area of use: how widely will it be used? (regional)
• duration of use: how long will work be used? (one year)
• all-rights terms : unlimited use or buyouts
• ownership of original art : who will retain original artwork?
• licensing to third parties : right to resell or transfer rights?
• exclusivity: who has the rights? (client only / limited time)
• work for hire: assigns authorship to the client
payment issues
• fee / estimate : monetary value of job when complete
• additional expenses : outside vendor costs
• kill / cancellation fees : 25-50% recovery costs
• payment schedule : when payments are due
• late-payment fees : when will payment be “late”
• client alterations / changes : client revisions
• taxes : sales taxes
• default / legal fees : when client doesn’t pay
legal issues
• warranty : guarantees originality : guarantees rights : etc
• indemnity : protection from damages or liability from 3rd party
• remedies: agreed courses of action for resolve
working relationship issues
• project descriptions
• work stages and scheduling
• approval processes
• final artwork and return of originals / deliverables

Using Contracts

Create a Boilerplate Contract
• draft a basic studio contract template to work from
• draft a letter of agreement template (for less complex projects)
Establish a Studio Policy
• use these to depersonalize the negotiation process
• sample: do not ever work on projects w/o signed agreement
• sample: do not accept “work-for-hire” terms
• sample: do not accept all-rights terms or buyouts
• sample: do not work on spec
• sample: do not quote estimates on the spot
working with clients’ contracts
• get acquainted with their contract
• isolate problem areas
• compare notes
• start the re-write process
• alter the original
• send to the client
• prepare for reaction

When to Call a Lawyer

When writing or negotiating a contract, there are times when you should consult a lawyer:
• for large and or complex projects
• complex royalty or licensing issues
• projects requiring lengthly schedules
• licensing work in multi-national markets

AIGA Standards for Terms and Conditions

In either it’s long (AIGA Standard Form of Agreement for Graphic Design Services)or short form (AIGA Standard Terms and Conditions for Designer Client Relationships), either document can serve as a basis for designers’ contractual arrangements with their clients.

AIGA Standard Form of Agreement

Cover Page
• Summary Statement
• Agreement Date
• Client Info
• Designer Info
• Project Name
1. The Project
1.1 Description of Project
• describe the project carefully
• research
• consultation
• fabricated work or pieces
• services related to each component
• project or work phases
• when and what each presentation entails

short sample: A four-page, one or two color, 8.5 by 11- inch brochure, consisting of text only, describing your company’s services.

2. Services
2.1 Basic Services
• define clearly what services “we” offer
• define our expertise and knowledge as a professional service
2.2 Supplementary Services
• services beyond expertise / consultation
• writing, illustration, photography, etc.
• clearly define what services you are and are NOT providing
2.3 Implementation
• printing
• fabrication
• installation
• if included, could classify you as a vendor rather than consultant
3. Compenasation
3.1 Fees
• clearly state fees

sample:
• For the fixed sum of $0,000.00
• Hourly, at the rates stated in this contract, not to exceed $0,000.00.
• See Appendix A, “Schedule of Fees”, attached.

3.2 Hourly Rates
• hourly rates for the calculation of any additional services
(i.e. dollar amounts for various staff)
3.3 Initial Payment
• for confirmation of client’s good faith
• non-refundable
• compensation or financing for start-up costs

sample:
• 10 to 50 percent of total job cost
• most common 25 or 30 percent

3.4 Payment Schedule
• disbursement of fees

sample:
• In three equal payments: one-third upon signing the contract, on-third upon approval of the completed design, one-third upon completion of the project.
• Monthly, based upon time expended, within the agreed totals.
OR
Initiating fee: $0,000.00
Completion of Preliminary Design: $0,000.00
Completion of Design Development: $0,000.00
Completion of Drawings and Mechanicals: $0,000.00
Completion of Project: $0,000.00

3.5 Revisions and Additions
• enforceable only if original description is clear and accurate
3.6 Rush Work
• compensation for having to work unusual hours
• figure is dependent on designer
3.7 Reimbursable Expenses
• handling charges (mark-ups)
3.8 Reimbursable and Implementation Budgets
• protection against implementation estimates vs. actual costs
3.9 Records
3.10 Late Payment
• service charge for overdue accounts
• 1.5% per month past due
• typically acted upon only if litigation becomes necessary
4. Client’s Obligations
4.1 Client’s Representative
• prevent conflicting instruction to the designer
• identifies a liaison for getting documents approved
4.2 Materials to be Provided by Client
• what the client’s responsible for providing
• raw materials, documents, etc.
4.3 Liability of Designer
4.4 Approval of Typesetting and Final Artwork
4.5 Instructions to Third Parties
5. Rights and Ownership
5.1 Rights

Reminder: by maintaining as many rights as possible “we” are by law, consultants and not vendors. Thus we are selling a service and not a product.

5.2 Ownership
5.3 Third Party Contracts
• obtaining services of other creative people
• equal, unless otherwise noted, to the designer’s rights
6. Miscellaneous
6.1 Code of Ethics
• voluntary adherence to AIGA Code of Ethics
6.2 Credit
6.3 Samples and Photographs
6.4 Confidentiality
6.5 Sales Tax
• to assist in collecting sales taxes, retroactively assessed
6.6 Applicable Law
6.7 Assignment
6.8 Termination
• notice for termination of project or designer
6.9 Arbitration
• should reflect the maximum amount allowed for small claims court
6.10 Entire Agreement
6.11 Representations
7. Time Schedule
8. Continuations and Other Conditions
• area to define any special circumstances relative to project
9. Defined Terms
10. Signatures
• be sure client’s signing party is authorized to do so

The AIGA Standard Terms and Conditions for Designer/Client Relationships

Newer and shorter than the previous. This agreement is to be attached to a designers project estimate and/or proposal, and can be used as a written confirmation of terms and conditions between designer and client.

NOTE: In order for this agreement to work effectively, the following information will be included in the estimate/proposal.

The AIGA Standard Terms and Conditions for Designer/Client Relationships is an optional short form agreement that may be attached to estimate/proposal document in lieu of longer more extensive contractual agreements. (see pgs. 55-58 in AIGA Professional Practices in Graphic Design Text.)

What Goes Into An Estimate or Proposal

Client’s Name and Address
• name of client representative
• date
• designer’s name and address
• name of project
Project Description and Specifications such as:
• project goals
• number of components
• size
• page count
• colors
• artwork requirements
Third Party Relationships
• editorial services
Client Responsibilities
• list or description of materials/services client will provide
Project Stages, Responsibilities, and Presentations
The most important part of the estimate/proposal.
• project stages
• number of samples, concepts
• type of presentations
• number and complexity of revisions included
• electronic vs. camera-ready mechanicals
• production responsibilities (estimating, press proofs, and checks)
Usage Rights
• indication of any limitations on uses
Project Schedule
• delivery dates
• approval stages
• project benchmarks
• duration of project
Project Fees
• includes all cost for all project stages in estimate/proposal
• may involve or include day rates for photo supervision, press checks, etc.
Out of Pocket Expenses
• expenses not included in fees
Payment Schedule
• amounts due and when
Additional Recommendations for Estimate Proposals
• submit and negotiate estimate/proposal prior to attaching to terms
• NOT recommended that AIGA Standard Terms and Conditions be used for complex or lengthy projects.

Useful Resouces

AIGA Standard Form of Agreement

AIGA Standard Terms and Conditions

Contracts & Form Samples

Reading Assignment (RECAP)

• TEXT: GAG Handbook for Pricing and Ethical Guidelines; chapter 13; pgs 238-246
• TEXT: AIGA Professional Practices in Graphic Design; chapter 4; pgs 29-50
• TEXT: AIGA Professional Practices in Graphic Design; chapter 5; pgs 51-58

Reading Assignment (PREP)

• TEXT: AIGA Professional Practices in Graphic Design; chapter 9; pgs 87-92

The Design Firm and It’s Suppliers

Your suppliers are your company’s life blood. A company without suppliers is like a person without food.
Forging Strong Relationships

Rules for Working with Suppliers

• Never falsely represent yourself or your needs.
• Don’t ask for speculative work.
• Never ask for under-the-table remuneration.
• Don’t take unfair advantages of a supplier in a captive situation.
• Don’t prepare vague requests for quotations.
• Don’t ask suppliers for materials that you know won’t lead to a sale.
• Don’t mislead suppliers in billing procedures.
• Don’t provide false schedules.
• Never establish new credit terms after a job is completed.
• Don’t reject work to elicit corrections of your own mistakes.
• Treat your suppliers as you would like to be treated

Working with Print Vendors

• Locating
• Factors in Selecting
• Print Vendor Reps (What they do… for you)
• Their part in the process
• Communicating (Good News & Bad News)

Working with Photographers, Illustrators and Other Vendor Types

• Locating
• Factors for selection
• Services
• Their part in the process
• Communicating / Art Direction

The Purpose for and Preparation of RFQs