Fee Quoting & Process for Design

Former students of my Ai Advanced Design course (some 300 of you nearly died in that class) will find the process summary below familiar. I use this in new client situations when asked for a quote. Ahh, quoting....

People seeking design work very often have no idea how much involved in getting GOOD, solid, and original results. I have experienced several new clients who were referred to me after being sorely disappointed by "factory" and cookie cutter logo design companies. Clients find these logo design companies online offering insanely cheap fees. It is inevitable that you get what you pay for. That's all there is to it.

A REAL, qualified, and talented designer should never attempt to quote like logo factories do. If you have a potential client that wants something for nothing, send them to one of those (many are off-shore, which just concerns me to no end). As creatives, we have the burden of educating our patrons on the value of our work. What we do is NOT a hobby. As hard as times are right now for everyone, doing visualization of a brand for someone for chump change is just no good for anyone in the long run, dangit. Only if you are in a position where you can actually afford to do favors for people who want to start a business on promises should you stoop to logo factory fee quoting. The cookie cutter $50 logo businesses out there don't seem to cover any key information such as how their 'product' will never make it through a trademark submission.

The process outline below is reflective of projects of high-visibility in nature and are a bit more ‘involved’. This usually means that there are multiple contributors on the client side. In other words, there are likely way too many people in various positions w/the company who want to have a say-so and input on the design. This is great, but will result in a lot more work and time on your part.

The entire process usually takes 1-2 weeks to complete. The length of time can be shorter or longer based on a number of variables that can be evaluated at project start and addressed clearly with the client as early as possible.

1. Brainstorming & Business Matters

I gather from you your thoughts and visuals, descriptive words for the brand, info on the target audience and future target goals, competitors, etc. Quote and contract agreement are provided.

2. Design Drafts

After receipt of deposit and contract agreement, I provide 3-5 different visual approaches. Client chooses from those which have potential for moving forward.

3. Variations & Development

I provide variations of those 2-3 drafts based on client feedback and input.
Client feedback is essential at this phase. You may like some visual quality of one design but the orientation or type treatment of another. Combinations of different variations are common in this process.

4. Review and Narrowing the Choice

It is important to focus in on one visual solution from all the variations so the project can actually be completed and stay within the original flat rate quote. Additional phases of variations can certainly be requested beyond this point upon contract revision agreement.

5. Final Refinements

I create 2-3 subtle variations based on client's input of the final design. Upon receipt of final payment, digital files of the final project are released to client.

Now, with those high-visibility clients, you may find yourself doing a lot of extra tedious work preparing the release of final files. When I designed for the broadcasting company and it's stations, they required the logo marks in about a million different file formats and prepress set-ups. I would recommend an additional flat fee in an estimate/quote for this potential 6th phase of the process. Since this work is essential but not requiring original creativity from your brain, a lower 'production' fee is perfectly acceptable.

So you're wondering just exactly how much I quote for brand/logo work? Well, that's something we can discuss privately. :)

Typeface Praises

Typefaces; Pein's All-Time Favorites
Worth Buying...For Real.

There are lots of 'free' fonts out there on the trendy novelty sites for you to download. I know them ALL. Freebies are fine. However, there are a few typefaces that, in my personal opinion, every graphic designer should own, or at least have an intimate knowledge of. Although they can be quite pricey, over the years I have legitimately purchased a handful of timeless classics that have certainly paid for themselves by now and were worth every dime. Here are a few that I couldn't live without...EVER:

Neue Helvetica™ Pro 33 Thin Extended

Helvetica™ Neue Extended 1 Volume

In 1983, D. Stempel AG redesigned the famous Helvetica typeface for the digital age, creating Neue Helvetica for Linotype: a self-contained font family. Today, this family consists of 51 different font weights.

Note From Pein: Timeless, modern, sophisticated, and a PERFECT, high-end visual value. By 'value' I mean the fundamentals and principals of design, and how this typeface lays on a page, whether it's for a swanky headline or body text, it's smooth as a baby's butt.

---

 
ITC Garamond Complete Volume

ITC Garamond is based on the types of Claude Garamond, cut in the sixteenth century, and on the version produced by the American Type Founders company in the early part of the twentieth century. The ITC Garamond font family has an enlarged x-height, close letter spacing and a wide range of weights and widths. ITC Garamond is a very popular typeface in advertising, for catalogs, brochures and packaging. ITC Garamond Condensed has a larger x-height to maintain legibility while conserving space.

Note From Pein: I have been so in love with this typeface family since college. The Condensed Volume Pack contains, of course, the condensed typeface design, which holds a very smooth, even value on a page with a lot of body copy! Because the letter forms are condensed, you can fit A LOT MORE text into a layout and still have it look refined and balanced. We carefully chose this typeface and 'font family' at Motorola for all the product user guides for it's classic appearance and readability while fitting a lot of text.

---

ITC Kabel™ Volume

Traditionally, German foundries have been more energetic in soliciting new designs from artists who are not specialist typographers. An example of this tradition was the career of Rudolf Koch, who designed Kabel in 1926, and which was named after the first trans-Atlantic cable. Kabel is a sans serif design of peculiar characteristics, suitable for short texts. It produces a striking effect on the page, providing modernistic feel. Although in many respects it resembles the simplicity of Futura, the unique shapes should help to identify Kabel from any other sans serif. The design was redrawn by ITC in 1975 under license from the Stempel foundry to create the ITC Kabel font family. Kabel™ is a trademark of Linotype Corp. and may be registered in certain jurisdictions in the name of Linotype Corp. or its licensee Linotype GmbH.

---

EF Ballantines Script CE 1 Volume

I haven't found much background on this typeface/font, but I'm wondering if it might have been inspired by a single malt Scotch whisky with the same name?

Note From Pein: Script typefaces are tough. I get nervous when beginning designers start to dink around with them. A well-designed script typeface is structured so that every letter connects and a visual rhythm flows like liquid. Readability and style are a MAJOR consideration when selecting a script, as some are based on calligraphy, some on penmanship, etc. I like to work with Ballantine when I need something "swooshy" but NOT Puffy-Sleeve Bridesmaid Dress-Sswooshy. Ballantine hints at the classic 'Coca-Cola' logo letter style. It's a script with a hint of funk, yet very solid, balanced, and readable from its lightest family member to its heaviest. I wouldn't use it for an orchestra performance program, but I might for an upcoming Valentine's Day ad layout headline or something more 'commercially".

Bembo®

The origins of Bembo font goes back to one of the most famous printers of the Renaissance, Aldus Manutius in 1496. This very typeface would eventually be of such importance that the development of print typefaces is unthinkable without it. The Monotype Corporation in London used this roman face as the model for a 1929 project of Stanley Morison which resulted in a font called Bembo. Morison made a number of changes to the 15th century forms. Bembo is an old face type of unusual legibility. Its timeless classical character makes it suitable for almost any application.


Frutiger™ Pro 45 Light

Frutiger's goal was to create a sans serif typeface with the rationality and cleanliness of Univers, but with the organic and proportional aspects of Gill Sans. The result is that Frutiger is a distinctive and legible typeface. The letter properties were suited to the needs of Charles De Gaulle – modern appearance and legibility at various angles, sizes, and distances. Ascenders and descenders are very prominent, and apertures are wide to easily distinguish letters from each other.

Note From Pein: The above description mentions Universe and Gill Sans, both typefaces I thoroughly respect and use regularly. Frutiger is, however, the sans serif face I have used the most over the years. In the san serif type category, the Frutiger family of type is my ALL-TIME favorite! Use it with confidence!

Craigslist With a Grain of Salt

Job Seekers, Be Skeptical!

I'm not impressed with Craigslist as a tool for creatives looking for work. I have been on both ends of that 'thing', both as a job poster (looking to hire freelance web programmers) and as one looking for new gigs. Here...in my professional opinion, is what I would advise you to keep in mind:

1. "Mystery Listings"

If the job does not list any specific information on themselves as the company/employer, as in a website or even so much as a company name, don't even bite the hook. Why? Well, any number of reasons. First, whoever is behind the posting my have no intention of actually hiring anyone (see #3). If they're asking you to email or submit your work without telling you WHO you're submitting it to...well...that just seems a tad 'scammy' to me. Although there's nothing terribly wrong with posting a job just to see what kind of responses you'll get and what freelancers are charging, as a creative individual, responding to these types of job listings is little more than giving out free estimates that will lead to nothing. Submitting work to mysterious job listings is about the same as painting your credit card number and CV code on a billboard!

Although Craigslist is pretty good at flagging bogus postings, in the "Jobs' section, it's easy to get around having to be legitimate.

READ the job description. If it provides NOTHING unique or specific to any other job listing (as if they just copy-pasted a generic description from another company's listing), it may not be worth your time.

2. "Tall Orders"

If you check the job listings on a regular basis, you are probably already aware of how completely RIDICULOUS and out of line the listings can be. They frequently have a long list of required skills that are just flat out UNREALISTIC. They want a designer with a BFA design degree...AND, in addition to your usual design tools like Photoshop, Illustrator, InDesign, etc., they expect you to be proficient in EVERYTHING ELSE UNDER THE SUN, as in:
CSS, mySQL, PERL, FinalCut, Premier, AfterEffects, Flash ActionScript, JAVA, StudioMax, MAYA, CGI, CIA, FBI, BOB, BYOB, BOOB, Rocket Science, Brain Surgery, Structural Engineering, and Calculus.

So you want a FINE ARTS degree AND someone who's spent the 300+ years it takes to have moderate proficiency a 3D program or web programming or scripting???

But here's the kicker. If they even do bother to list the salary range at the bottom of the job listing, after all these skills they want you to have, they list the job as something like $15 per hour. HA HA HA HA HA!!!! Good Luck with THAT.

Proceed in applying for this kind of job only if you're willing to sell your soul and live in an abandoned deep freeze in an alley in Chula Vista. NO ONE with a hard-earned Bachelor's degree in a creative field should submit to this kind of insanity! Plus, if you check the job listings on a regular basis, you'll see the same jobs listed week after week. They might fill the job, but give it time, as in maybe a month at best, and you'll see that same job back open again. This should be the biggest RED FLAG in your mind of all time. BELIEVE ME, I know!!! Seriously.

3. "Other Agendas"

I have a very close friend who is Canadian, a highly skilled professional, and here on a Visa. I got a first-time inside view of what goes on with that. Let me put this into my own words and understanding...
If a company is employing (sponsoring) a Visa, they can be required by US law to post that employee's position on job boards. If the company finds US citizens with the SAME qualifications applying for the position, that makes it difficult for them to employ the 'foreigner'. There's a very frustrating good and bad side to all of this. As a US citizen, I'll support the fairness of making those jobs available to US citizens first.
However, the really bad part to me is, there may be jobs posted that are really little more than employers "Testing the Waters". They may have NO intention of actually interviewing or filling those positions. They're only required to list it for one employment law or another. This really bothers me, and there's nothing I can do about it other than offering consolation to creative job seekers who have put in the hard effort to apply for jobs and don't even get so much as a "Thanks, but no thanks". Keep this in mind if you're really frustrated with the job market, especially in California.

4. "Testing the Waters"

Essentially, view every job listing as that, when the job description itself seems vague or too 'pie in the sky'. Treat them with reasonable suspicion - that the listing could very well be someone testing the waters or trolling for cheap designers. When you actually do take the time to apply/respond to a job that's on Craigslist, if you don't get any response at all, DON'T get too discouraged. It's not a two-way street. If you put the effort into a sincere, custom-written cover letter or email and give them everything they want to know about you and they can't even send you a simple confirmation or acknowledgement, take my word for it, you DO NOT want to be employed by them. Don't sweat it, reclaim your value and marketability, and move on to job opportunities more worthy of you!

Current State of the Job Market for Creatives

How To Be a Graphic Designer
Without Losing Your Soul

If you hire creatives, PLEASE, for the love of GOD, read it. If you are a creative, well, just read all the reviews on Amazon! I second all of them. If you're frustrated with the industry and job market these days, you'll find peace of mind in this. LOVE IT. *BUY IT!!!* How to be a graphic designer without losing your soul addresses the concerns of young designers who want to earn a living by doing expressive and meaningful work, and who want to avoid becoming hired drones working on soulless projects.
(Description from Amazon) Designers are quick to tell us about their sources of inspiration, but they are much less willing to reveal such critical matters as how to find work, how much they charge, and what to do when a client rejects three weeks of work and refuses to pay the bill. 
Written by a designer for designers, it combines practical advice with philosophical guidance to help young professionals embark on their careers. The book also includes inspiring interviews with ten leading designers, including Rudy VanderLans (Emigre), John Warwicker (Tomato), Neville Brody (Research Studios), and Andy Cruz (House Industries). All told, How to be a graphic designer covers just about every aspect of the profession, and stands as an indispensable guide for any young designer.

Films I Would Force You to Watch

Films I Would Force You to Watch...if I haven't already.
I've had some questions from former Ai students, asking for a refresh on some flick I forced in a class long long ago. I love it when this happens, because they are usually students who faught me tooth and nail, or had a very uninterested attitude toward the film at the time it was shown in class. Sometimes they didn't 'get'...or appreciate why it was appropriate to show during the course. And sometimes it was just because they just weren't paying attention at all due to hangovers and the lights being turned off. Here's a list of my favorites that I had shown at one point or another, mostly in the hopes of inspiring some kind of conceptual or creative crumb to the surface of your brains.

1. Dreams; Akira Kurosawa

Although just about any Kurosawa film is important to absorb, my all-time favorite is "Dreams". If for no other reason, watch this concept film to see Martin Scorsese play Vincent Van Gogh. Many critics will say Dreams is their least favorite of all Kurosawa's films, and the average Joe will avoid it because it has subtitles. My response to this is, first, the 'photography' in this entire set of shorts is incredibly beautiful and symbolic. Stop the film on any frame and you have an image that is coffee-table-worthy. Second, the subtitles require little effort, and the actual dialogue in this series is minimal, so get over it.

If I had to chose from all the dreams the 'must see', you MUST make it to the last 'dream', "The Watermills". Runner up in my book is "The Tunnel". I get a shiver every time.

2. The Cabinet of Dr. Caligari; Robert Wiene

A serious silent film of historical significance, a rare find with actual psychological depth and flat out horror. Any student of graphic design, design history, or just history in general will find something to appreciate in this freaky freaky film, The "Cabinet of Dr. Caligari". Check out the German Expressionism in the set design and keep in mind what was going on in the world at the time of the making of this film. Huge! If you find a remastered version to rent, there is phenomenal commentary and 'extra' features. I'm thrilled to find that this crazy film is finally getting some attention again. Even though most of it is coming from Horror and ComicCon Fans...I personally feel that it should be a part of any Modern Art History curriculum in some way. Here's another website, Highlander Films LLC.  about the film with some contemporary reflections.

3. Metropolis; Fritz Lang

An absolute must for students of design, film freaks, and history buffs. A major MAJOR film. Metropolis is another one that is available in a remasterd edition with an excellent set of extras. This includes an outstanding documentary on the making of Metropolis by Enno Patalas, a Featurette: The Digital Restoration, Photo galleries featuring production stills; missing scenes; architectural sketches; poster artwork, and Audio commentary in English, German, French, and Spanish 

"If you think The Matrix is cool, check this one out - and remember, Lang made it in 1927. Perhaps the most influential sci-fi movie ever made" - Newsweek