Issue #29
July 13, 2006

Welcome to Inside Freelance Design (IFD), your free, bi-weekly e-letter from American Writers & Artists Inc. Every other week, you can receive this special alert with secrets, tips, and insights from AWAI's graphic design pros to help you improve your skills and reach your goal of becoming a professional graphic designer in the fastest time possible.

IN THIS ISSUE:
  • How to Turn a Project Proposal Into a Powerful Self-Promotional Tool – an Interview with Peleg Top
  • Quick Tip: Mastering Type With in InDesign (and Other Layout Programs)
  • The IFD Mailbag
  • EXTRA! EXTRA! News and Job Opportunities
How to Turn a Project Proposal Into a Powerful Self-Promotional Tool – an Interview With Peleg Top
By Kammy Thurman

You might expect Design Master Peleg Top to be one of those highly successful professionals who's unapproachable and not very eager to share his success secrets.

But you'd be wrong. Even though Peleg earns top dollar when he designs for corporate clients like the Rock and Roll Hall of Fame and Universal Music, he gladly shares ideas and strategies with other designers. He particularly enjoys sharing with newcomers.

One reason Peleg is passionate about helping other designers is that he started out much like many of our Graphic Design Success members. He never went to art school. He started his design business in his garage. And he built his client base from the ground up.

We interviewed Peleg recently to learn about one of his core strategies for landing new clients and turning them into return clients: project proposals.

IFD: Can you tell us how you use your project-proposal strategy?

PELEG: Happily! Here's a breakdown of the steps.

Step #1: Meet with the client.

I meet with the client face-to-face, if possible. If the client isn't local, you can do this over the phone. It's extremely important to get a feel for a potential client and his company to see if you're a good fit.

This first meeting establishes rapport. You get to know clients as real people. And they get to know you in the same light.

I ask a lot of questions during this first meeting. I ask about the company, its philosophy and goals, the project, the project's intended audience, project specs, deadlines, and the budget.

I always ask about the budget in that first meeting. I have to know what I've got to work with. Be very clear about money. If you're not, it can really mess up the proposal and the project later on.

Sometimes, a client doesn't know what the budget will be. In that case, I discuss budget ranges with them. And I don't mean just for my price but for the total budget.

Step #2: Write a formal proposal.

After the meeting, I write a project proposal. This outlines the project, establishes my expertise, and lets the client know why my studio is the best choice for the job.

Because it's so involved, I write proposals for new clients only. Once I've done the first project with them, I keep the proposal information on file. Then I use quick, one-page job sheets for subsequent projects.

Here are the key components of a proposal that wins new clients:

  • Cover letter – This friendly letter helps the client recall your initial meeting and re-establishes rapport.
  • Current situation – This section repeats information the client shared about where they are in business, their goals, and current challenges.
  • The need – This section discusses the general solution you offer the client. Be careful to take a “Here's what you said you need” approach rather than a “Here's what I think you need” approach.
  • Why you – This is where you establish your expertise and tells the client why you're the best person for the job. It's not a boilerplate bio though. Instead, share your experience and history as it relates to the client's industry or particular needs.
  • Your approach – This section is not about what you'll do on a project, but how you'll work thru the project with the client: meetings, deadlines, information sharing, that kind of thing.
  • Project phases and deliverables – Once you have a project deadline, work backward and figure out each phase of the project, what needs to happen during that time, and the deliverables the client will receive at the end of each phase. This general outline does not include dates for deliverables.
  • Costs – If you have a specific budget, give the costs you've figured for the project. If the client doesn't have a set budget, offer price ranges and let the client know these are estimates only and may change.
  • Samples – The first meeting with a client doesn't always include the decision-maker. So when you create a proposal, always include a few of your best samples from similar industries or projects. This helps establish your expertise with the decision-maker, even if you haven't met. After that, make sure you meet this person and work with him or her from then on.
  • Timeline and schedule – This specific timeline for deliverables describes how long each phase of a project will take. This allows you to give the client an idea of what to expect and when as the project progresses.
  • Payment terms – Spell out your price and how you accept payment, including deposits, final payment, guarantees, and the like.

IFD: Any warnings for our readers about this process?

PELEG: I have one big warning. When creating proposals, be very careful not to promise more than you can deliver.

Make sure you know the client's budget. Calculate all costs associated with the project before putting it in writing.

It's also a good idea to include a disclaimer in your proposals stating the fees are based on information you've received from the client. Stipulate that if the scope of a project changes, the fees will change as well.

[Ed. Note: To learn more about Peleg's client-winning strategies and how to charge what you're worth, join us in November for FastTrack to Graphic Design Success 2006. For more information, click here: www.awaionline.com/graphicsbootcamp/]

* * * * * * * * Highly Recommended * * * * * * * *

Everything You Need to Land New Clients Fast…

Learn how to work with clients effectively…keep them loyal decades into the future…get paid what you're worth…and leave your competition choking on your dust!

http://www.thedesignerslife.com/ultimateguide/

QUICK TIP: Mastering Type with InDesign
(and Other Layout Programs)

What's the best way to format an em dash? Should you have it touch the two words on both sides, as the Chicago Manual of Style advises? Or should you separate it with spaces? (Both look wrong).

When you use ellipses (…), should you use the single-key variety that's now available? Or should you use periods with spaces in between? (The answer is “neither.”)

When should you kern your text? How do you control leading? Should you use TrueType, OpenType, or PostScript fonts?

Adobe Press's new book InDesign Type (ISBN 0321385446) answers these and many other type-related questions. Even if you use a page layout program other than InDesign, this book is well worth the price.

If you want the type in your designs to look perfect, this is a complete resource you should add to your professional library.

* * * * * * * * Advertisement * * * * * * * *

Selecting the design software that best fits your needs may be one of the most critical decisions you ever make!

The perfect design program that is right for you will fit your budget, fit your working style, give you all the features you regularly use - and help you access them more easily. It also should give you room to grow as a designer and advance your career!

If you have any questions about design software – about what you DO and DON'T need to make your design business a success -- AWAI's Designers Guide to Buying Software will help you make the decision that's best for you!

http://www.thedesignerslife.com/buyingsoftware/

FROM THE IFD MAILBAG…
by Kristin Schwarz

Hello, everyone!

Let's start with a question from one of our members.

Hi AWAI graphics team,

Why is it that sometimes when I'm using numbers in columns they don't align correctly? They often look just a little off, making my work look sloppy and amateurish. I thought a program such as InDesign would make my text look really professional. I appreciate your feedback.

Paul T.

Dear Paul,

The purpose of a layout program like InDesign is to give you control over the layout of your text and images. Sometimes, though, these programs have so many functions that it takes time for a new user to experiment with them all.

In this case, you may want to check which kerning option was selected. The kerning control tool is on the top menu bar. It looks like A\V with little arrows above and below the symbol. If you're unsure which of the symbols stands for kerning, mouse over the symbols. A description will appear.

When you're working with figures in numbers, kerning should be set to “Metrics” and not to “Optical” (or anything else). You may have manipulated it earlier in the copy to make adjustments for certain passages of text. Re-setting it should solve your problem.

Good luck!

Now, here's a handy PDF trick from my friend Linda ...

Let's say your client wants you to make text changes to a PDF. Since PDF is a Postscript file, you can open it in a vector program like Illustrator. When you do that, the text will sometimes appear as “point text,” with each character being a separate text object. This could make minor editing a major hassle, involving lots of maneuvering of individual characters.

So here's the trick: Marquee (click mouse and drag) across all the individual text objects and copy them (Edit > Copy). Create a new Text Frame with your Text tool and go to Edit > Paste. The pasted copy becomes easy-to-edit flowing text once again.

Have a great couple of weeks!

Kristin

[Ed. Note: If you have a question or comment for Kristin, please send it to:
insidefreelancedesign@awaionline.com, Attn: Kristin Schwarz.]

EXTRA! EXTRA! News and Job Opportunities
  • GRAPHIC DESIGNER - Try-Foods International works with supermarket retailers to help build stronger relationships with their shoppers. Currently, they need a graphic designer who can shine in all aspects of design from conceptualization to development to presentation. Send your cover letter and resume to Patty Scheide at pscheide@tryfoods.com.
  • GRAPHIC DESIGNER - Allrecipes.com, a thriving Seattle-based business, needs a graphic designer capable of coming up with original ideas and implementing them in a compelling way. You must be knowledgeable of HTML, Dreamweaver, Flash, Photoshop, Fireworks, Freehand, InDesign, and Quark. Send your contact information with your resume and a link to your online samples to Kirk Dickinson at yann@allrecipes.com. No attachments, please.
  • GRAPHIC DESIGNER - American Home Mortgage seeks a junior level graphic designer with good energy and skills to spare. You'll help to develop designs for both print and online marketing campaigns. A good understanding of branding is helpful, and expertise with Dreamweaver, Quark, Illustrator, and Photoshop are necessary. Send your resume and cover letter to marketingjobs@americanhm.com with "Jr. Graphic Designer" in the subject.
COMING NEXT ISSUE:
  • Self-Marketing Guru Ilise Benun Shares Her Secrets of Effective Self-Promotion
  • Quick Tip: Are Your Colors Too Hot? Or Too Cold?
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