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THE DESIGNERS GUIDE TO MARKETING AND PRICING PDF

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The Designer's Guide To Marketing And Pricing. How To Win Clients And What To Charge Them. By Ilise Benun and Peleg Top. Trade Paperback. eBook. The Designer's Guide To Marketing And Pricing book. Read 9 reviews from the world's largest community for readers. Do what you love and make money!. GD&I Guide Title Pages6/22/ AMPage iThe Graphic nd Designer's a Guide Pricing and Negotiating 81 Pricing Rules of the Road Negotiating Your Price Of course, spam is the torrent of unwanted email that we get every day.


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The Designer's Guide to Marketing and Pricing will answer all the common questions asked by designers trying to stay afloat in their creative business - and also. Editorial Reviews. About the Author. A marketing consultant to creatives since , Ilise Benun partnered with designer Peleg Top in to create Marketing . Your brand is the sum of every interaction people have with your product, company and team. Page 1. Quick & Dirty. 2. Getting Smarter. 3. Keeping Up .

The ever-expanding and changing scope of this industry makes the above question seem almost laughable. Any talented designer knows that, in order to stay relevant, research is key. So, where should your reading list begin? Here are just 19 to get you started along the way. The established designer is also famed for his wealth of essays on how to follow through your processes. These texts offer some down-to-earth, tangible advice that would benefit almost anyone in the industry.

Great book for anyone that is building a design business. They address several things that I hadn't even thought about. I do wish they would have included a standard range of prices for the more common projects. Nov 13, Isis Sousa rated it it was amazing Recommends it for: This book is excellent. Very nice and important tips for designers and artists in general. Jul 29, Quinn rated it it was ok.

Unfortunately this is a bit dated and not really inspiring. Feb 12, Elizabeth George rated it it was amazing. Very helpful!

The Designer's Guide To Marketing And Pricing: How To Win Clients And What To Charge Them

Tim Lapetino rated it it was amazing Feb 06, Shannon Marshall rated it it was amazing Nov 27, Hillary Marek rated it it was amazing Feb 17, Amy McAdams rated it really liked it Dec 31, Sarah Ruh rated it it was amazing Aug 09, Virginia Figuereo rated it it was amazing Dec 28, Val rated it liked it Sep 02, Thomas rated it it was amazing Oct 16, Lauren rated it it was amazing Sep 10, Keith rated it liked it Jan 03, Lynne Fleming rated it liked it Jun 01, Kevin Beer rated it liked it Dec 29, Paige Reynolds rated it really liked it Jul 26, Kanit rated it it was ok Dec 30, Kim Fields rated it it was amazing Dec 11, Jeff Fisher rated it really liked it Aug 23, Tiffany Oldham rated it liked it Jun 01, Stuart Crawford rated it it was amazing Jan 07, Poop McToast rated it liked it Jan 08, Juan ma.

Teixido rated it it was amazing Sep 23, Cameron rated it it was amazing Sep 14, Nina rated it it was amazing Sep 28, There are no discussion topics on this book yet. Readers Also Enjoyed. About Ilise Benun. While most artists lead more solitary working lives, reps may come in contact with more clients, other artists, other reps, etc.

Being part of a rep group may also lead to work with clients who may have more than one project to give out and who prefer to work with one rep. Being part of that team can assure more calls from a client in need of a specialty than may happen if an artist with that specialty is on her own or part of a more diverse group. Leslie Burns, of artist reps Burns Auto Parts www. I think the most important thing I personally give to my [talent] is the freedom to concentrate on the most important aspect of their profession: However, I am somewhat different because I not only rep my guys, I also usually act as their producer however, it should be noted that I bill out separately for producing.

We build client lists, make connections, get the books out to the right people, do marketing plans, and send promos, do ads—and all the other usual things. We also deal with all the negotiations with the clients usage and fees, etc. Many of us also do the full estimating and invoicing, and the ever-popular collections. We also follow-up to make sure everything went well and that everyone connected with the project is happy with the results.

For me, at least, knowing that my talent can give their best attention to producing the best creative they can is the most important aspect of my work. I find they are more relaxed and focused, even on huge projects, and that the resulting work reflects this.

I think a rep helps a creative professional do this. A keen sense of awareness is a must today. It is difficult for artists to look at their own work objectively or neutrally.

A rep who understands art and how it is used within various markets can provide her artists with valuable suggestions. I am a forward-thinking communication partner. I provide insight for development of imagery, cultivation of emerging markets, a reality check on the competition, all of which is valuable.

I believe it is part of my job to share the many facets of the business with the artists I work with. Those willing to listen and act on ideas are those that become successful. Not that an artist must take my every word and act upon it, moreover, it is the exploration of these things and what we decide to do with them that count.

Better understanding translates to stronger commitment to the goal. Also, with companies downsizing, the foothold of technology, stock, and an overabundance of artists vying for the same work, the creative art industry is traveling a bumpy path. Generally, as a reflection of these challenges, independent artists are undercutting the standard pricing structures.

Both scenarios are reactionary and neither a good idea. A good rep in tough times is key. Artists are inherently isolated from the market and their particular positioning in it.

Some have translated this to mean that artists should unite and do all. Connection with peers and belonging to a strong established organization like the Graphic Artists Guild is important. There are dangers in artists handling their creative AND their business without a rep. For many artists, doing so can mean professional suicide. Naturally, artists are emotional about their work, making it much more difficult for them to be diplomatic and professional when selling, pricing, or problem solving their own work.

As we watch the trend shift further away from illustration, it is ever more valuable to work with a leader to motivate and fight for creator rights. Most art downloaders, designers, and art directors prefer working with a good rep for obvious reasons. Focused dedication, knowledge of the industry, strong organization, clear and personable communication skills are skills that a small rep firm offers can be valuable.

The fact is most artists are simply not good business people. A full service rep like myself is essential for smoothing the path handling business, PR, and marketing details for the artist and client; that way each can dig and do what he does best—create. Note how the quality of the collaborative relationship rests on considerable mutual understanding, respect, and trust: After an artist is established and has gone through the learning portion of the business interviews, portfolio presentations, contract negotiations, and promotions there may be a need for a rep.

Kolea Baker and I have been business partners for over fifteen years. My need for a rep began when I realized that I needed more time for creating and painting.

Concentrating on my strengths art and the creative process became too valuable of a commodity. I was wasting energy and time dealing with the business side. Not only was it a difficult part to deal with negotiating, creating promo ideas, portfolio interviews but I was terrible at it.

Kolea has a great business sense—she knows the market, people art directors and designers , prices, negotiating contracts, collecting, and she is creative. Twenty-five to thirty percent of your income goes to the rep. Additional promo costs—Group promos ads Showcase, Workbook, Blackbook, etc. How good are you at negotiating prices? Do you trust the rep with your livelihood income and business relationship?

How good is the rep at motivating, marketing, and goal settings for yourself and the group? Now, in the last few years the downward trend in spending and budget cuts have affected the way art downloaders obtain art stock art and cheap art. Having a rep may not be the best idea for everyone since every penny is cherished these days.

Is it wise to pay someone 25—30 percent when you may be able to send e-mail, postcards, make personal calls, etc. The positive aspect today of having a rep is having someone who can create business for you in a changing market and that is where Kolea comes into play.

She is not only my rep but a business partner.

You have to be able to adjust gears and adjust to the world around you; when things are slow in one area you have to explore more areas. And there is one wrong way: They should be planned for personal sales correspondence and maximum-targeted impact. These visual pieces are used most often for sending ahead to get an appointment, or for leaving behind after showing a portfolio.

Most clients still prefer print promotions, though many designers now prepare electronic promos such as CDs in addition to the printed pieces or as additional portfolios.

Some production methods for primary promotion pieces include photographic prints, laser color copies, inkjet prints, black-and-white prints, and mounting any of these to card stock.

These methods work best when you have a small target audience or are just starting out and have very little money. With a larger audience, you may want to invest in offset printed materials.

They may cost more money, but are less labor in the long run and lower per unit cost than above. Design and quality of production is the key either way. Some of these production approaches include mini-portfolios, capability brochures, client-printed materials, and specialty advertising items. Mini-Portfolios The mini-portfolio is not really a portfolio at all.

It is a sample given to a client to keep on file. Good design and planning does not mean spending a lot of money. The most flexible format for a mini-portfolio is a presentation folder add your logo label to personalize the cover with inserts printed in advance and used as needed, depending on the client. This format is also the most easily used and customized for individual client cost-proposal presentations. Flexibility and convenience are the keys. Custom inserts help convey that individualized point.

Today, creativity is the key to an effective mini-portfolio. It usually is an information or copy-heavy piece that includes your marketing message, background, client testimonials, client list, facilities description, map to your studio and even equipment inventory.

In addition, it can be packaged with cost proposals to help you get the job you are bidding for! Depending on the client, you download or negotiate a price to get from several dozen to a couple of hundred copies on the same print run. When a client is printing single sheets, you can check to see if you can get yours with the backside left blank. Then, you can get them inexpensively back-printed with your own promotional copy.

Specialty Advertising When you have done everything else, be creative and use a specialty advertising promo piece! Again, being creative does not mean spending a lot of money. These promo pieces tend to be best used for name recognition and reminders, rather than as traditional selling promos. They are useful items pens, notepads, coffee cups that you give to your clients. You can order from any catalog supplier of specialty advertising. Some creative ideas are note cards, pop-up calendars, and the ever-useful mouse pad or screensaver.

Whatever you choose, make sure it echoes the marketing message of your primary promo pieces and is nice enough for the clients to want to keep! The quality of the specialty item will reflect on the quality of your work.

For example, how many times have you tried to use a logo pen that either leaked or did not write? If so, what did that make you think about the advertiser? I have a Web site and as a certified and authorized training provider, I get referrals from Adobe and Quark. I also advertise in a local learning guide to community classes of all types. Any design work that I get comes from my training clients. And I sell a unique product—templates almost sell themselves. They benefit the client in two very special ways.

They get a professionally designed solution to their communication problem, responding to the unique problem definition of their message, their audience, and their objectives. This already makes my template a quantum leap beyond pre-packaged templates that are provided by software programs. Secondly, I give the client a file that is optimized for the production of that document, with all factors taken into account—file setup, master pages, defaults, standing items, and of course style sheets.

I also do a session of template training and give them documentation of the process that is specific to their document. I also like to keep these promos for selective clients and it is a small list of designers for the most part.

If I have to turn down a job, I try to make the effort to send some tear sheets as a follow up and a personal note. I am also involved with an outstanding co-op of artists, www. Being associated with quality work is vital to presenting ones work. Lisa Cyr, accomplished designer, illustrator, writer, and lecturer was asked how she promoted herself to stand out from her competitors. This is quite a shift from years past where promotional materials boasted a mere list of services along with a portfolio presentation.

Today, the best creatives are showing prospective clients what they can do in a more inventive and thought provoking way. They are creating promotional pieces with perceived value—something that a client would want to hold onto and use.

Books, calendars, and lots of collaborative endeavors are being explored with a trend towards an editorial sensibility. Brochures, from tiny flipbooks to multi-pieced assemblages, are much more storytelling in nature—captivating, entertaining, and engaging the audience.

To create distinction, promotions have become more content-driven and much more effective as a result. Help the client hire you! Find out what your prospective clients are looking for in your portfolio and present that information. An interesting paradox: It is clearly seen in your work, and must be there. Before you put together your next sales presentation, be sure to determine whether your client wants a creative collaboration with you, or has a more literal and preapproved by committee image.

They are simply different clients; neither is wrong or bad. The style client that downloads creative collaboration looks at your style, personal vision, your problem-solving skills, and the way you visualize. The more literal clients are very straightforward, know exactly what they want, and want to see what they need in your portfolio before they hire you. You can develop the ability to spot these differences, which will provide both you and the client with a much more successful working relationship.

Making Them Look Good You do not have to explain what you are showing. Try adding success story anecdotes when presenting your work so that your client can better imagine working with you successfully. For example, make short and simple statements of special interest that will draw the client into the work, e. Keep listening carefully. Your presentations should address this issue because, whether they admit it or not, all clients are thinking of it. This aspect of your work is another nonvisual element of the presentation.

Clients cannot tell from your illustration or logo design if working with you was a joy or a headache for your previous client. However, they can surely determine that from your verbal presentation.

Clients will remember this discussion when they find a need for your special style or services! Instead, pick up these cues and turn them into positives about your concern for future relationships and your skill in solving problems. Work within Deadlines and Budgets Again the case study, or anecdotal, approach to your sales presentations is the best way to demonstrate this factor.

Clients cannot tell just from looking at a design or illustration whether you can work within deadlines or budgets. You have to tell them! Also, get help from a rep, a fellow association member, or a professional consultant. Your portfolio provides the focus and direction for your business, but it is very personal and therefore it is hard to be objective.

For many designers and illustrators, portfolio presentations are not as effective as they could be because they are not well thought out. Many people show an accumulative collection of work they have done, hoping the client will find something they like. Wrong approach! The accumulation of all the work you have ever done is not a portfolio; it is your body of work. Out of your body of work you will pull various portfolios, based on your different marketing messages and based on the needs of each specific prospective client.

Each portfolio you pull out of the body of work must target the type of client you want and the level at which you want to work and not necessarily the level you are at now. There are two major areas to concentrate on when planning your portfolio presentation formats. First, what you show in your portfolio, and second, how you show it.

Before you do anything else, however, go to your planner or calendar and schedule the time to do this work. Overhauling your portfolio is not the kind of project you can approach casually. It should be treated like any assignment and be given a time and budget. For example, when will you start working on your portfolio inspection? How much time will you plan to spend? How often will you review what you show and how will you show it? Since you are the client in this assignment, be generous!

Give yourself enough time and money to do the best possible job. How do you define that audience? You define it by looking at the kind of work you want to do more of—also known as your marketing message. As discussed in chapter 1, it could be your personal style, the industry of the client, the use of the work, or the subject you are illustrating. Stay focused on your target marketing message.

And guide to the pdf marketing designers pricing

Sometimes the work you want to do is not the kind of work you have been getting. What if you are making a transition, looking for different types of assignments, better clients, or just starting out? The answer is self-assignments. This is one of the most powerful concepts supporting development of new creative business, and one of the most ignored. The fact is that people hire you as a creative professional because of what you can do and how you think, not necessarily what you have done in the past for other clients though you must get as close as you can with the more literal clients.

So, this means two things: Follow a discipline of self-assigning items that you know will move you toward working in your desired personal style, creating in your desired industry, having your work used the way you want, or making work for your favorite creative subject.

Build this up. Paid jobs may not reflect your best work. Never include a piece in your portfolio just because you got paid to do it. If you want to do more Web design assignments, build your portfolio around a real or made-up e-commerce firm and produce a Web portfolio project to promote this company. Self-assignment work is not personal work. There is always an intended client and their problem—along with your solution.

Depending on what you are selling and whom you are selling your design or illustration services to, you could create as many as three different portfolios. It will have perhaps five or six images of your marketing message in it. It should only take a small number of images to help clients make this decision, and these works should be bound into some kind of book so that nothing gets lost.

Ringless binders or albums would also work well for both the traveling and the drop-off portfolios. CDs or DVDs are other great options. You never get a second chance to make a first impression. Clients get an immediate often indelible image of you at first glance.

Some clients may not care about this, but most will. Your portfolio case should look like extension of you, not something that you haphazardly picked up and put together. Look for a case that has some personal distinction. A custom case manufactured specifically for your work is one of the best choices. You choose size, color, and materials along with your name or logo added to the outside of the case.

On the inside, go for quality and professionalism. It is possible clients will assume that if your portfolio is poorly produced or presented, the work you do for them will also be poor. Worn mats, tired-looking transparency sleeves, scuffed CD cases, poorly printed CD inserts, and unmounted presentation pieces must be taken care of immediately. One of the first decisions to make is whether to show your traditional portfolio as reflective art or as transparency.

Also, consider using the one your prospective client is most comfortable and familiar with. If you choose reflective art, inkjet prints are the most popular choice and you can have a custom photo lab laminate or mount them if they are not going into a book or binder. If you choose transparency, the same lab can do film instead of print. It is also a sign of professionalism to have your name or logo on each lamination or mat board.

A Graphic Designer's Guide to Pricing

In addition to looking professional, repetition helps the client remember who you are. What size should your traditional portfolio be? However, this is just the size of the outside of the mat board or lamination.

All of your portfolio presentation boards should be the same outside size and then, inside this dimension you can mount any size or number of images. How many pieces should you show? Remember, your portfolio is not a complete body of work. The entire collection of pieces could be dozens or even hundreds of images.

Any given traditional portfolio should be a selection of ten to fifteen boards or laminations selected for a particular client. Because each board or lamination could show two or more images, this keeps the portfolio quantity manageable while not severely limiting the number of images you show. As a rep, writer, and professional speaker, I am constantly asked this question.

Personally, I always get my reality check from my prospective clients by asking them!

The Graphic Designer's and Illustrator's Guide to Marketing and Self-Promotion

Once you know where your prospective clients stand on electronic portfolio review, remember that technology is only a tool, and you still are a designer or illustrator. You still need a marketing plan for your portfolio decisions. How much you invest in electronic portfolio will be finally decided by asking yourself these two marketing questions.

One, what are you selling? Two, whom are you selling to? First, what are you selling?

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Designers and illustrators can market themselves and create portfolios based on two different criteria. One, you could focus on the work itself: Clients then hire based on your expertise in the work they need.

These could be traditional design or illustration requirements such as corporate identity; collateral, annual reports, or packaging design—and these clients may still need to see more traditional portfolios. Then there are projects such as Web sites, CD-ROM products, trade show kiosks, video games, Internet ads, and multimedia presentations.

You will then have an advantage by using electronic portfolios, because the clients are already using the technology as a product or as a promotion tool themselves. Second, whom are you selling to? Here your focus and portfolio is on the type of client or industry. The type of design or illustration work you want and the type of client for that work will determine the advantage or disadvantage to you of an electronic portfolio.

You will then determine which are the more conservative industries such as healthcare or financial versus the more technology driven industries such as computer or entertainment. When you decide to create an electronic portfolio, you will need to standout from the crowd of CD, DVD, and Internet clutter.

The technology allows you to create customized portfolios better, quicker, and more cost-effectively than you can with traditional portfolios. Will you next show new work or a different format? After all, the goal is to create a portfolio to get new work. No matter what the project is, making pricing too personal reduces your objectivity and ability to negotiate.

Get your relationship off to a professional and business-like start by using professional forms. There is a very big difference. In a competitive bid, the client often government hires the low bidder. In a comparative situation, the best person or firm for the project gets the job.

Neither is good or bad; just know what kind of situation you are in.

And the pdf marketing designers guide to pricing

Learn the negotiating scripts below and use them wisely. Review the techniques in this chapter on how to put everything in writing, including the benefits of working with you. To get your price, learn to package your price. Plan on calling the client back after you get the project description. Always ask when would be the best time to call back. Often, clients have much more time than you feel they do, and you will need the extra time! This will give you the chance to do an accurate cost estimate and shows your client respect for their request of your creative services.

Get complete and detailed project information. It is impossible to get too much information, you may need it later to negotiate and you will need it to accurately quote a price.

This feedback will help determine exactly how much work you will put into your written cost proposal. Prepare this verbal presentation script in advance so that you can handle any response. How does that fit your budget? Your regular clients do not usually need all of this effort. When you quote a price, there are only a few possible outcomes: A great old saying: In other words, less money might be okay, but fairness demands that it be for less of something else.

Graphic design and illustration are not products pulled down off a shelf. Not only is it unprofessional to do so, it makes your client doubt the value of your work or the credibility of your price in the first place! The beauty of creative services is that you can assure the client that graphic design and illustration done for less than the fair, normal, and industry average price will invariably look like it.

Factors that go into pricing include experience, expertise, and equipment. Help your clients or prospective clients understand further the importance of fair pricing: When they want to go ahead and hire for less money, clients need to look at the added and usually discovered later costs of their own time, energy, attention—even their prestige and esteem. Certainly take any and all negotiating seminars and classes you can find, but you must learn at least this one technique.

It is a simple concept to use and explain. For the client to pay less, the client will get less of some aspect of the project description that you both agree to or you will get more of something valuable to your business. Next, you look at two lists you have put together in advance of this meeting or discussion.

One is a list of the considerations the client can make to lower the price. For example, clients can get less usage rights, fewer personal consultations, smaller quantity of pages or images, less thumbnails, or fewer approval stages.

Anything you can think of that will help the client pay less without damaging the project. If you need to, go to your second list.

These are the considerations where you can get more of something for the client to lower the price. To do the work for less money you can get more time, more printed samples, or better payment terms.

Work on this today! Your negotiations are simpler and easier when you have lots of items to choose from on your two lists. The bottom line is you do not accept less money for the same amount of work. You will damage your chance at a profitable relationship with clients.

You will give your work away. Here are suggestions for your two negotiation lists: Whether you are doing graphic design, illustration, or anything in the creative professions, an irresistible presentation of your price will best demonstrate your professionalism, value, expertise, and abilities.

This will help the client decide to hire you instead of a competitor. In addition, this beautifully prepared proposal demonstrates to the client the extra value they will get for the price they will pay, and the attention to detail you will apply to their job.

Remember, unless you know you already have the job, you may need to give the client more information and proof than the typical estimate confirmation contract by itself provides. After all, the estimate confirmation just tells clients what it would cost to hire you, but the packaging tells them why it is such a good idea! Use the industry standard forms discussed above, with customary contract law for either graphic design or illustration, to protect you and your client.

Very important: Does your client have the responsibility to find you, but needs further approval to hire you? If your client needs the approval of a supervisor or CEO, make sure that both people get original copies of your proposal.

If you are dealing with a third party—i. For example, ad agencies get lots of freelance design and illustration estimate confirmation forms, and you want yours properly considered for the correct project. Remember, since any alteration in the project could cause an increase in expenses, a detailed job description, or scope of work, can avoid the problem of going back to the client for more money to produce what was wanted in the first place. If the unexpected happens and it almost always does , have estimate amendment forms available for changes to the fee or expenses approved by the client during the job.

Creative fees should include a complete statement of the usage of the design or illustration. You must never leave the client in legal jeopardy.

Ask clients what their plans are for the design or illustration use and re-use. If they ask why, be sure you tell them that you want to make certain they are getting the proper license or transfer of rights they need. You are trying to protect them!

Often, a fee is set aside and named the design or illustration fee but that is just one small line item on a very big project budget. Often, you are getting into a project sooner and leaving later than the fee structure may account for, so to maximize profitability, ask!

There are often other line items named in that project budget that really should be redirected towards your fees and expenses. Have the client check on items such as preproduction, research, any and all retouching, postproduction, and prepress, to name a few. The money is there to pay you for the extra work, but you will probably have to help the client find it for you.

Expenses can only be estimated, and your estimate form should state that the client agrees to pay actual expenses. Industry standard variation of 10 percent above or below the estimate is customary and should be stated on the front of the contract, but I would still recommend you get an estimate amendment if the price goes up.

No one likes surprises. State clearly what your price includes so that your client knows exactly what he is getting. Client changes or additions, delivery costs, and output what exactly they will receive are three of the most overlooked issues. Standard contracts should state that clients will pay for any changes or revisions they make to the original project description.

Calculate the delivery charges, special research needed, extra scans—any possible expenses for the assignment. Then itemize them. The more detailed the description, the less you risk absorbing any of these client expenses. Deposits or advances should be discussed. A deposit is a percentage of the total cost from 30 percent to 50 percent that the client pays to confirm the assignment.

An advance is a prepayment for costly or extraordinary preproduction expenses. Try to get either an advance or a deposit. You are not a bank; you are a creative professional. Then, a late payment charge usually around 2 to 3 percent should be quoted on all jobs.

Pdf to and marketing guide pricing the designers

It is customary for the client to pay any legal fees, if needed, to collect money. It will help your client and their committee decide to hire you. Here is an example of a cost proposal cover letter. Dear David, It was a pleasure talking with you yesterday about your annual report project. As we discussed, enclosed is the estimate confirmation for the graphic design and illustration elements of the project our firm will provide.

In addition, we have enclosed the custom print samples and CD of our work that you requested to present to your communications committee. We are looking forward to working with you!

Designers to and marketing guide pricing pdf the

Sincerely, Maria Piscopo P. Please let me know if you have any technical project questions or need any additional samples of our work as you review the proposal. He also expressed a concern that your cover letter reflects the consistency of his brand.

So, without doing spec work, show you can do this work by providing examples. Yes, you may have already displayed these, but never assume the client will remember what he saw in your portfolio or that he pulled your promotion materials from his files or revisited your Web site.

Clients may do these things, but count on having to visually reestablish your creativity and technical ability to do the work. This will help you get the job, and help the committee of people involved decide who gets hired.

This may be the deciding factor to help the client decide to hire you. More likely, your client may need these items to certify your reliability, so he can sell you to his own committee of decision makers.

Anything you can do that will give you additional value and trustworthiness and help the client make the right decision—to hire you! Get all the facts and specifics up front.

And do you have a clear sense that no means just that? But fee is just one step in the pricing waltz. Many moves make up the dance and all must be considered for a fluid, graceful twirl around the dance floor of the assignment. Rights and usage, deadline, complexity, audience, the clients themselves, the job itself, the working relationship.

Recognizing that you will live to negotiate again is a solid, valuable learning experience in itself and keeps your perspective real. If I were marooned on a desert island with my client and could only have one book besides that copy of my new book I keep in the hidden compartment of the life preserver this would be the one—the pricing and business bible for arty commercial types. Ed Brodsky, partner at Lubell-Brodsky, Inc. This reminds everyone, including ourselves, what it was we agreed to try to accomplish.

Next we explain what we plan do, and plan to do it in broad general terms. Then we usually follow this with a more specific list of work we intend to do, a price for each of these procedures, and a total. We almost always end the proposal by telling the client how excited we are to be considered for this interesting project and some of the benefits we expect the client to realize from our efforts.

Perhaps the biggest advantage of writing a good proposal is that after we write it we often realize that the project can command a much larger fee than we initially thought.

This more than covers the cost and time of writing the proposal and also has become the main reason we have successfully been able to raise our fees.

We try never to indicate that we will do the same amount of work for a lesser fee, that our fees are negotiable, or, worse yet, arbitrary. Many clients understand this method of setting fees. Their accountants and lawyers have always charged them by the hour.

In short, all the things you need a price for, and later on will be doing for real. Ready to know how to price a logo design?

Here goes. You need to understand what it is exactly that they need the logo for. The more detailed answers you get, the better.

What is the deadline for the logo to be ready? Who are your competitors? Are there any restrictions e. Print or digital? Note sizes and file formats too. No copyrights needed — just use it. Once you get everything answered, you should create a design brief and present it to the client.

You should never start working on the design before everything is clear. It will save tons of headache and work, mainly on your end.