Personal Professional Development

Are you a professional

Are you a professional, how you look, talk, write, act and work determines whether you are a professional or an amateur. Society does not emphasise the importance of professionalism, so people tend to believe that amateur work is normal.

Professionalism

Professionalism is not a straightforward concept to define. As a number of commentators have noted, the word “profession” is today, almost synonymous with occupation: the term professional is now applied to a wide range of individuals such as footballers and cricketers and sports personalities. Seeking to identify the essential nature of professions by examining what existing professions do.

  1. The professional has skills or expertise proceeding from a broad knowledge base.
  1. The professional provides a service based on a special relationship with those whom he or she serves.   This relationship involves a special attitude of beneficence tempered with integrity. This includes fairness, honesty and a bond based on legal and ethical rights and duties authorised by the professional institution and legalised by public esteem.
  1. To the extent that the public recognises the authority of the professional, he or she has the social function of speaking out on broad matters of public policy and justice.
  1. Professionals must be independent of the influence of the State or commerce.
  1. The professional should be educated rather than trained. This means having a wide cognitive perspective, seeing the place of his or her skills within that perspective and continuing to develop this knowledge and skills within a frame work of values.
  1. A professional should have legitimised authority. If a profession is to have credibility in the eyes of the general public, it must be widely recognised as independent, disciplined by its professional association, actively expanding its knowledge base and concerned with the education of its members. If it is widely recognised as satisfying these conditions, then it will possess moral as well as legal legitimacy, and its pronouncements will be listened to with respect.

 

Definitions of Professionalism:

Many organisations have a “code of ethics”, and what they require for entry into their organization and how to remain in good standing. Some of these codes are quite detailed and make strong emphasis on their particular area or expertise, for example, journalists emphasise the use of credible sources and protecting their identities.

Another area of inquiry that will allow a student of this subject to define concepts of professionalism may be inferred from guarantees. But these are inferences only. The idea behind a guarantee is that the person offering the guarantee is accountable to the extent of damages that will be compensated.

One thing these sources hold in common, implicit or explicit, is the idea of accountability—those who are members of these organizations or professions are held accountable for what they do.

For Graphic Design and design related industries professionalism could be demonstrated by the following:

Attitude & Demeanour

Ethics, Morals & Responsibilities

Code of Conduct

Application Letters/CVs (see Module: Preparation for Industry)

Dealing with Clients

Client meetings & eliciting a brief/re-briefing, contracts/Terms & Conditions

Financial Management

Fees

Determining an hourly rate

Costing & Budgets

Commissioning & Sub-contracting work

Freelance Design

Studio Practices & Procedures

Health & Safety

Copyright & IP (Intellectual Property)

Time & Work Management

Timesheets, job handling & workflow, schedules & deadlines

Professional Bodies

ICOGRADA/D&AD/ISTD/CSD/Typographic Circle

 

Task Sheet

 

Professional Design Practice                               Name:  Jake Kempton

 

Is Design a Profession or a Trade?

This is a tough question in all honesty, because its can be either a profession or a trade. When I think of a trade or tradesmen, I think of someone who is in the plumbing or construction industry, or someone who is good with their hands. This is where I think design can be classed as a trade, where someone is good with their hands, I mean you can be good with your hans when you’re a designer, such as skills like illustration, software etc. However I do think design is also a profession. A ‘profession’ is a paid occupation, especially one that involves prolonged training and a formal qualification… which is process you follow when becoming a designer, but again, for some jobs you need prolonged training and some sort of qualification, such as a plumber and a construction worker. So the answer to the question is simply both, design is a trade as well as a profession in my opinion.

What are the KEY differences between a Designer and an Artist?

The end product –

Artists and designers both create visual products, to put it simply. Artists however, create eyecandy to be consumed by the end user. The actual painting or illustration is created with intention to be the final result of the artist’s vision. Whether this comes to the market as a book illustration, a canvas for a gallery, a framed work to be hung in a house, or a mural, the artwork is the final product of consumption. Designers create beautiful images as a form of communication and are one small step within a production pipeline. A designer will use renderings, sketches, models and other means to communicate their design to a team of people who all work together to create a consumable end product. The end product may be a video game, movie, lawnmower, laptop, backpack or piece of furniture. The designer’s initial sketches, renderings or mock-ups are not intended to be seen by the consumer, but rather to explain their design solution to those who will help bring the design to fruition.

Problem Solving –

Everyone solves problems one way or another. In most cases, an artist’s problem to solve is that they have an idea or vision and want to share it with others. He or she creates a piece of artwork and the problem is solved. Designers are often approached with a client’s ‘problem’ which he or she then solves for. For example: a company wants to increase sales of a product they’ve sold for years. The designer’s job then turns into several smaller problems that must convince the (potential) consumer that this product is better than one he or she already owns. The designer could chose to freshen up the form, improve ergonomics, leverage a different production method that lowers cost and, why not incorporate a new feature? Maybe the end result is a modern product that folds up to save space, is more comfortable to use and even costs the consumer less money than the last one he or she bought before. Designers solve problems for clients and consumers.

Level of craftsmanship –

Craftsmanship is a term used to describe the skill used to create a product. Artists are craftspeople because without a high level of craftsmanship, their work would not stand apart from a novice’s. Often, an artist’s craftsmanship increases over time and therefore increases the value of a painting created by him or her. A designer’s craft is in communication and solving design problems quickly and elegantly. A designer need not a high level of craftsmanship to ‘sell’ the ideas the way an artist may, but nobody can argue, the higher the craftsmanship, the more valuable the designer.

How people interact with it –

The interactions people have with artists’ work are often very passive and visual. Unless it’s an installation or sculpture, the interactions are often quite minimal.Interaction however, is a very big part of design. Most designers create solutions to common problems by designing products that people interact with often. Whether it’s furniture, tools, electronics, clothing, kitchenware, or cars, all of these products are designed with the end user in mind. Before a design can be dubbed successful, it needs to address a number of issues, one of the most important being interaction.

The functions they serve –

What function does artwork serve? It’s used as a visual stimulation, as decoration or storytelling most often. Products brought to life by designers need to serve a function to be successful.’Functional design’ is a term often used to say ‘this product functions in a way to address a specific need’. If the most beautiful can opener was designed with a high-tech, fancy, ultra-light carbon fibre material, it may be ‘designed’, but it may not be functional. The material may not be durable or sharp enough to open a can with and if it’s 100 times more expensive than the conventional can opener, it may prove impossible to sell as a consumer good. In this case, rather than being a product, the ultra-sleek carbon fiber can opener would likely be considered a piece of artwork as it would serve to make a statement, and to be observed – not used to open cans. And in all likelihood, it would not be mass-produced, which brings me to my final point.

How its produced –

Artwork is often created to be sold as originals for a sum of money that is representative of the amount of effort and hours put into it by the artist. Design is usually created with mass-production in mind. Whether it’s a consumable product, an application, graphics, or interiors, the number of pieces that will need to be produced plays a big role on how something is designed. A designer will often keep this in mind as a product becomes more complex. Automated production processes should be used to reduce labor costs. Designers tend to try to reduce production costs and consider the entire life of a product (from concept to consumption to disposal) and integrate features to be more consumer and earth-friendly.

 

Key attributes of a Professional:

Appearance

A professional is neat in appearance. Be sure to meet or even exceed the requirements of your company’s dress code, and pay special attention to your appearance when meeting with prospects or clients.

 

Demeanour

Your demeanor should exude confidence but not cockiness. Be polite and well-spoken whether you’re interacting with customers, superiors or co-workers. You need to keep your calm, even during tense situations.

Reliability

As a professional, you will be counted on to find a way to get the job done. Responding to people promptly and following through on promises in a timely manner is also important, as this demonstrates reliability.

Competence

Professionals strive to become experts in their field, which sets them apart from the rest of the pack. This can mean continuing your education by taking courses, attending seminars and attaining any related professional designations.

 

Ethics

Professionals such as doctors, lawyers and public accountants must adhere to a strict code of ethics. Even if your company or industry doesn’t have a written code, you should display ethical behavior at all times.

 

Maintaining Your Poise

A professional must maintain his poise even when facing a difficult situation. For example, if a colleague or client treats you in a belligerent manner, you should not resort to the same type of behavior.

 

Phone Etiquette

Your phone etiquette is also an important component of professional behavior. This means identifying yourself by your full name, company and title when you place a call. Be sure not to dominate the conversation and listen intently to the other party.

 

Written Correspondence

During written correspondence, keep your letters brief and to the point. Your tone should be polite and formal without being “stuffy.” This also applies to email correspondence.

 

Organisational Skills

A professional can quickly and easily find what is needed. Your work area should be neat and organized, and your briefcase should contain only what is needed for your appointment or presentation.

 

Accountability

Professionals are accountable for their actions at all times. If you make a mistake, own up to it and try to fix it if possible. Don’t try to place the blame on a colleague. If your company made the mistake, take responsibility and work to resolve the issue.

 

 

Are any of the following Professions (Highlight in red as appropriate)

 

MARKET TRADER     DOCTOR     LORRY DRIVER     CHEF     DESIGNER          JOINER

POP MUSICIAN     SOLICITOR     ACCOUNTANT     SOLDIER     FLORIST             PLUMBER

FOOTBALLER     TEACHER     LAWYER     ARCHITECT     NURSE     ENGINEER

 

Occupations are categorised by an ABC rating system Category A could be Lawyers/Solicitors, category C2 semi skilled

 

Where do you see yourself at the present time (please highlight red)

 

A          B          C1        C2        D          E

 

Where do you see yourself WHEN QUALIFIED (please highlight red)

 

A          B          C1        C2        D          E

 

What starting salary (per annum/year) would you expect as a Junior Designer

  1. In the North of England – £15,000 – £20,000    
  2. In the South East of England – £18,000 – £25,000

 

Personal Promotion

Background

A vitally important part of being a successful designer is the ability and need to present your self in a professional, confident and business-like way. This applies to all aspects of your dealings with clients and employers, from your telephone manner through to your personal presentation at meetings, briefings or interviews.

Frequently however, the first impression of you as a designer will be derived through written correspondence. It is essential, therefore that your personal stationery and self-promotion reflects accurately the professionalism you intend to convey.

Obviously COST is an important factor – don’t be over-ambitious – it’s the quality of idea that is paramount

and production values. Careful choice of typeface, paper, colour, layout and arrangement create an impression

or mood that acts as your personal ambassador.

Learning Tasks/Brief

You are required to produce initial design proposals for the key graphic elements of your personal promotion.

These will form the nucleus of your own personal visual identity and will eventually be applied to your personal stationery, self-promotional items and to your personal interactive website.

Your visuals should be in the appropriate colour/typeface and each concept should be presented showing how it would work, say for instance on your business card. It is not essential that facsimile items such as letterheads, business cards etc are presented but if time allows, you may wish to show how your graphic elements could be applied.

The progress of your personal promotional design work will be monitored during this Module, advice will be available on aspects of suitability in terms of professional standards, technical practicalities etc.

You will be able to produce each element appropriate to a specific reproduction process with consideration for practical and financial limitations for actual use in your personal promotion.

  • The module ‘Preparation for Industry’ specifically addresses and further develops the generation of self-promotional design and related job applications.

 

  • The module ‘Design in the Digital Environment will address personal website design, you may use this as part of your personal promotion, however this may not be used as part of the assessment criteria as you cannot be assessed for the same work in a different Module!

Personal Stationery >>> JK Personal Stationery<<<

Consultancy Fees and Contracts

  • Advertising Agreements
  • Affiliate Agreements
  • Consultancy Contracts
  • Domain Name Contracts
  • E-commerce Terms &Conditions
  • Email Notices
  • Hosting & Maintenance Agreements
  • Intellectual Property Assignments and Licences
  • Non-Disclosure Agreements
  • Privacy Policies
  • Services Contracts
  • Software Contracts
  • Web Design Agreements
  • Web Development Agreements
  • Web Marketing Agreements
  • Website Terms of Use
  • Templates
  • Editing
  • Guarantees
  • Privacy Policy
  • Terms of Use
  • Web Consultancy Agreement

 

Online Catalogue | Consultancy Contracts | Web Consultancy Agreement

Web Consultancy Agreement

A web consultancy agreement template is designed to regulate the legal relationship between a web services company and a consultant employed by the web services company to provide development or other website-related services to the company.

This consultancy agreement precedent contains two alternative intellectual property clauses.

The first alternative is an assignment of all new and existing intellectual property rights in the work produced by the consultant. The second alternatively is a licence of the intellectual property in the work produced by the consultant. The particulars of the project can be detailed in the Schedule to the consultancy agreement.

The agreement should be signed by both parties.

The template is drafted to protect the interests of the web services company, rather than the consultant. If you are looking for a pro-consultant document, you should consider a web consultancy terms and conditions template.

The template includes the following provisions:

(1) Definitions and interpretation

(2) Engagement

(3) Duties of the Consultant

(4) Acceptance

(5) Fees

(6) Intellectual Property Rights

(7) Warranties

(8) Non solicitation

(9) Liability

(10) Data protection

(11) Termination

(12) Status of Consultant

(13) Confidentiality and publicity

(14) General

  1. Web Design Agreement (pro-designer)
  2. Web Maintenance Agreement
  3. Web Services Terms

 

How to Buy – It is easy to buy legal templates from a website.

As soon as you have submitted payment, they will send you an email containing hyperlinks to your templates. All you need to do is add the templates you would like to buy to your shopping cart by clicking the “Add to cart” button, proceed to the checkout. Once you have filled in your details and confirmed that there are no errors in your order, you will be transferred to the Sage Pay website to submit payment securely.

They accept payment, via Sage Pay, using any of the credit and debit cards shown. You can also pay via PayPal (the option to do so appears on the Sage Pay website).

Print Quotation Request Email

Background

It is customary for designers to elicit a quotation for print work to be undertaken, in advance to ensure that not only is the price/cost acceptable but also to ensure that the printer and the designer have a mutual understanding of the requirements and constraints of the job. This is usually requested in a formal, written manner and a written response is essential if confusion or misunderstanding is to be avoided. This lack of clear communication could lead to a breakdown of a professional business relationship between the two parties. It is therefore wise to obtain AT LEAST THREE Print Quotations – for comparison.

Remember, the cheapest in cost may also be the poorest in quality…generally you get what you pay for.

However for this task you are required to submit one print quote request.

 Learning Tasks

You are required to submit a Print Quotation Request (as an email) please print the email out and hand in on the deadline (see individual brief) to obtain a meaningful print quotation from a printer for the printing of your personal stationery.

 Evidence required for Assessment:

A comprehensively detailed and complete print Quotation Request Letter/email

  • Remember your enquiry should include…

 

  • Introduction – state that what you require is a full breakdown in writing, plus all costs, including VAT,

not just the final figure, given over the telephone.

  • Latest date print quote required (when you want the quote)

 

  • Actual Deadline for the finished print work.

 

  • Delivery details (will you collect, or do you require the printer deliver, at a cost)

 

  • Contact telephone number (for queries, advising when ready for collection)

 

  • Will you or the printer supply the paper – ask for quotes to cover both possibilities.

 

  • The form in which you will supply the final artwork.

 

  • Breakdown of all items required to be printed. (letterhead, business card, comp slip)

 

For each item list:

 

  • Quantity required. (You may also wish to ask for a ‘run on’ price as well).

 

  • Finished Printed/Trim size (in millimetres), state any bleed allowance to be provided.

 

  • Paper/stock/substrate – give specification (and provide actual sample or similar if possible).

Include: paper colour/texture/finish, category, weight (gsm).

 

  • Inks – number required, Pantone Colour or other reference numbers. Ask the printer if they have the ink in stock or whether you would have to pay for a special order/batch.

 

  • Any special effects/finishing – Blind embossing/UV varnishing/Foil blocking/Die-cutting (the printer you liaise with will contact a Print finishing Company and charge you for this service)

 

  • Trimming requirements (Leaving untrimmed and eventually trimmed by you is often the cheaper option).     Also will you be providing, as artwork, several versions of any item ganged together- known as, for example,   “4 up to view” etc. (Business cards, usually).

 

  • Include a polite and courteous ending, thanking for their help & consideration.

 

NB An effective & clearly structured layout is considered as essential as is the informational detailing/content. Remember that your letter should be produced in a professional and businesslike manner, if you wish to get respectful and efficient treatment, and a quality job.

 

Assessment

The level of your attainment for this assignment will be determined as follows:

Completion of all required evidence.

Quality & depth of Research

Clarity of understanding of assignment’s requirements

Degree of motivation and application

Scheme of Work

See attached sheet for details particular to this assignment.

In this assignment you will address the following Learning Outcome:

Critically analyse & evaluate, then make and justify decisions about print and production processes and in the selection of appropriate technologies and techniques for the production and reproduction of design work proposals.

Print quote >>> Print quote <<<

Print Processes

Background

This Module will introduce you to the relationship of the need to work within the constraints of cost, the impact of choice of materials, type of print process, method of preparation etc. and will complement course modules at level 5 requiring creative yet practical design outcomes and extend your knowledge of the totality of the design process from concept to eventual end user.

In an industrial context, designers invariably work in relation to specific production methods. A thorough working knowledge of methods of print production, and their limitations is essential

Brief

Research, discuss, compare and contrast the main advantages & disadvantages of major printing process utilised by contemporary graphic designers. You will be given a print process from the following list to research and present:

 

  • Offset Lithography
  • Gravure
  • Flexography
  • Die-cutting
  • Full colour reproduction
  • Printing faults and causes
  • Letterpress
  • Print finishing
  • Papers/stock
  • Line and halftone
  • Imposition
  • Screen Printing
  • Proofing (picture and text)
  • Foil blocking
  • Lamination
  • Embossing

 

You may set out your findings as a table/chart or in essay form, a presentation of your given research category will be made to the group/staff, you are required to print your category of print processes before the presentation and give a copy to each member of the group/staff, for inclusion in a Research File.

Write as much as you think necessary but remember the quality of information is more important than sheer quantity of words.

Your findings must be presented in a professional manner, typed, and carefully spell-checked.

A brief explanation of the process method (with supporting diagrams/links to YouTube) is required and any print problems that may occur.

Presentations to group/staff begin W/c 16/11/15 – W/c 30/11/15

Completed assignments and research file should be submitted for assessment at the end of this Module.

Presentation research file >>>Die cutting PPD<<<

Presentation Notes >>>Die cutting PPD<<<

Placement Application Request Email

Background

Like any other application, contacting companies in order to secure a placement for work experience needs careful and considered attention, if your application is to be successful. This is usually requested in a formal, written manner.

Your email should briefly state what you require, and when.

You are advised to give a short summary of your current, knowledge, experience and skills.

Companies receive application requests from all levels, including schoolchildren. It is essential that you project yourself as more advanced and professional (and hence, more useful) and indicate that you can offer more than just ‘attending to observe’. As a design trainee on an advanced course, in your final year, you are capable of making a valuable contribution as part of a team.

Once on placement, you may then be given actual design work to undertake, which could then be added to your folder of work. With the right choice of placement, students from this course have been able to create an impression, this has eventually lead to employment at that company.

Careful selection of appropriate companies with an impressive email application are essential to achieving success, this will be accompanied by pdf’s of recent work or web URL. Some companies will usually then ask you to attend an interview

 Learning Tasks

You are required to submit a placement application email (for reference and spell check, combined with any relevant information you may wish to include in your application) initially to paul.clarkson@sheffcol.ac.uk

Please print the placement application letter and add it to your Professional studies research file

Once this has been agreed you may select 10 – 15 Design companies and forward or tailor your email specifically to them.

 Evidence required for Assessment

Include the following:

Address your letter to an actual person and find out their actual job title remember, if name not known then: Dear Sir/Madam

Get to the point and state clearly the purpose of your letter – that you require a period of work placement.

Give dates (if necessary, alternative dates) for when you need (or prefer) the placement.

State how long you need the placement, usually 1-2 weeks maximum.

Introduce yourself and briefly describe the course on which you are studying – Foundation Degree Graphic Design at Hillsborough College. (part of the Sheffield College) this COURSE relates strongly to industrial needs, including any freelance work or live briefs or competition briefs.

Briefly describe what skills and ‘experience’ you now have and that you can offer (areas of specialism) the computer software that you are proficient in using, state your career aspirations.

Provide a CV, and enclose a promotional item or samples of work if possible.

State that you wish to experience a professional design environment and gain an insight into your chosen career.

Find out the type of clients they work for.

State that you wish to visit or attend an interview and you would appreciate the opportunity to show your portfolio of work.

Suggest your availability times, dates.

 Include a polite and courteous finish… either Yours faithfully (Dear Sir/Madam) or Yours sincerely (if name is known)

 Check spelling!

An effective & clearly structured layout is considered as essential as is the informational detailing/content. Remember this should be produced in a professional and businesslike manner. Full consideration should be given to compositional organisation in terms of integrating into your personal design style and stationery.

 If a placement is offered by a company you must ensure that your coursework and assessment are not placed in jeopardy, please consult with your tutor(s) for advice and /or permission. It may be more convenient to undertake your placements at half term.

 Easter or during the summer after you have left the course, and before you start in a full-time job.

Placement Request >>>Placement Request<<<

Fee Letter

Fee Letter (email)

Background

Assuming that a designer has just recently attended a comprehensive briefing session/meeting with a client to discuss the requirements of a design job that the client wishes to produce, designers generally then follow up this meeting and submit an email to the client, detailing your design fees, for their full approval, before any work commences. (Please print this for assessment)

This correspondence should, therefore, present a clear breakdown of the proposed charges/fees against what actually will be done by the designer. It is also good practice to include a ‘restatement of the brief’ indicating precisely what the designer thinks is expected of him/her in design and print terms, outlining the tasks dates and stages involved as well as identifying the actual items/formats to be considered.

The email could form the basis of a legally binding contract and needs to be worded with care indicating all requirements, dates, fees etc… It will help to avoid possible confusion, misunderstanding and argument at this (and any other) stage in the relationship with the client.

Brief

You are required to submit a re-brief & fee email (the cost of design work produced by you and any additional costs incurred) to a given client (see below) to act as a basis of understanding of the requirements of an imaginary previous meeting to qualify what is required in order to indicate your proposed fees/charges for the work to be undertaken.

You are charging for design work only so assume photographs/illustrations are provided.

Evidence required for Assessment

You should email your intended fees for only the design to paul.clarkson@sheffcol.ac.uk

You are required to submit a re-brief & fees for the following:

  • Job title: The Robert Opie Collection at the National Museum of Advertising & Packaging
  • 12pp A4 brochure plus 4pp cover (pp = printed pages)
  • Printed full-colour throughout
  • Includes photography and illustration
  • Covers to be heavier weight stock to inside section

Client

Mr J Statham

The National Museum of Advertising & Packaging

The Albert Warehouse

Gloucester Docks

Gloucester

GL1 2EH

Remember your email should include:

  • Introduction
  • Restatement of the brief
  • Fees
  • Special Clauses/Conditions
  • Conclusion

Assessment

The level of your attainment for this assignment will be determined as follows:

  • Basic Pass level – successful & completion of all required evidence
  • Attainment beyond this level will depend upon factors such as:
  • Quality & depth of Research
  • Clarity of understanding of the assignment’s requirements.
  • Degree of motivation and application
  • Effectiveness of the communication of ideas/intentions in the context
  • of the tasks addressed
  • Any other factor(s) indicated/instructed at the time of briefing-in

Fee Letter >>>Fee letter<<<

Calculating an Hourly Rate

Working as a designer involves selling your ability and experience in the form of the time it takes to complete all aspects of a design project. An hourly rate is a common method of determining design fees, whereby the time taken to undertake the project is multiplied by the hourly rate. Determining a realistic cost for an hour of design time is important in calculating suitable design fees. One designer’s hourly rate may be double or half that of another, depending on experience, financial needs and the demands on the designer’s time.

Often a (freelance) designer may actually spend only HALF the available work time in actually designing.

The rest of his time is involved with administration including client meetings, liaison with printers, print bureaux, suppliers, job-progress… to cover the cost of these non-chargeable activities, the Hourly Rate determined below could, in reality, be doubled.

Below is a method of determining an hourly rate based on an average working day and available working days per year.

Hourly Rate example

Gross Annual Salary required                                                                  £25,000

Overheads:                                                                                                   £13,000

(Rent, telephone, utilities, insurance, transport, equipment, stock, postage)

A        Gross annual income required                            £38,000

Total available working days per year                                                     230 days

(Total days per year, less allowances for weekends, holidays, sickness etc)

Multiply average working hours per day                                                  6 hours

(Average working day of 8 hours, less time taken for admin and lunch break)

 

B        Total number of working hours per year            1380 hours

To calculate the hourly rate, divide A by B = 38,000 divided by 1380 = £27.53

 Therefore, hourly rate   =   £28.00 per hour

This final hourly rate could be doubled, if non-design activities are to be considered.

Timesheet’s & costing out services

It is essential to keep a record of the time spent on any particular task carried out within a design   company. Time is directly related to money and a designer/design company could have one or more fixed chargeable rates, i.e. the rate/s would be charged to the customer.

The rate/s will also vary from one company to another and individuals and are determined by many factors, the hourly rate/s are also essential for estimating design fees.

In most design companies different activities are charged at a different hourly rate, for instance, travel to and from a client should be charged, but not necessarily at the same rate as the concept work (creative) or artwork (technical production).

The Timesheet

This will indicate the job, customer and activity, together with the time spent competing the task. This may involve several individuals within the design company, each allocated and responsible for a certain activity. The total job will normally be coded as a job number for easy reference and accounting purposes.

The planner/job bag

Used as a reference or visual display in the company, almost like a year planner, dates, times, (often large scale on a wall) used as a means of keeping together and viewing all necessary and relevant information, who’s working on what, deadlines, (that often change due to client demands) client meetings and other essential information.

Dividing up the day

The normal working day is usually divided up as follows:

  • 8.00am or 9.00am (some companies operate on flexible time) to 12 noon – 1.00pm (Lunch)

5.00pm (or later) = 8 hrs approx per day, however this may vary.

  • 5 days per week = 40 hours (may vary, usually more)

Each hour, or more spent on the following activities should be recorded, with an indication of each activity this depends on whether it is the start of a new design project (usually companies are working on a variety of projects with different deadlines and timescales)

  • Client meeting, discussion, overview, client needs, planning, strategy, time constraints.
  • Research (telephone calls, emailing, liaison (photographers, illustrators, models, contributors)
  • Ideas/concept (typography, photography, illustration, film, other)
  • Visualising, initial thoughts/concepts, followed by discussion (relevance and fitness for purpose)
  • Client meeting (progress check)
  • Design implementation
  • Promotional aspects (billboard, adshel, magazine, newspaper, poster, TV, a mix)
  • Client meeting (progress check)
  • Lliaison with printers on behalf of the client)

A simple system of codes for the above activities could be:

1 – C/M 1     2 – R     3 – I      4 – V     5 – C     6 – D      7 – P          8 – C/M 2     9 – L

 

 

 

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