Final Artwork Phase
Lesson 17 from: Working Successfully with Clients: A Class for Illustrators and DesignersLisa Congdon
Final Artwork Phase
Lesson 17 from: Working Successfully with Clients: A Class for Illustrators and DesignersLisa Congdon
Lessons
Class Introduction
03:45 2The Importance of Effective Communication
05:00 3Be Prompt, Clear and Succinct
15:56 4Email Communication: What Works, What Doesn't
20:01 5What to Look for in an Assignment
13:04 6Red Flags
09:42 7Questions about the Schedule
03:34 8Fees & Negotiation
22:16How to Approach Bidding
05:34 10Navigating Contracts
03:57 11What Should Go Into a Contract?
13:09 12Negotiating Contracts
04:51 13The Pros and Cons of Having an Agent
14:46 14Phases of a Freelance Illustration or Design Job
02:49 15Sketch & Feedback Phases
14:19 16Ask Questions!
03:15 17Final Artwork Phase
03:37 18Dealing with Change in Scope
05:43 19Wrap Phase
04:31Lesson Info
Final Artwork Phase
All right, final artwork. Congratulations, your sketch was approved. On to final artwork, so the general composition and layout of the piece should remain unchanged. Part of the purpose of the sketch phase is to get really clear on how things are going to be rendered. I used to do this thing when I did a lot more analog illustration, I work digitally more now, where I would draw the sketch in pencil on the paper that I would actually end up laying the paint down on, so I would use the sketch as my substrate for rendering the final illustration, so I wouldn't have to redraw the sketch to then paint. So that way if the client came back and said, this never happened, but if the client came back and said you know, the composition is off, and I'll be like, it's exactly what you approved. It just now has color on it, so maybe there's an issue with the color, but you also want to get clear on color choices, make sure you're clear with the client on any additional new details that were not ref...
lected in the sketch. Sometimes you're adding, sketches are sort of bare bones, and more details need to be added, so you need to make sure you get clear on all that information, 'cause once you render final artwork, especially if you're an analog illustrator, and you're you know, redoing something, would require starting over, you want to make sure you've got all those details set ahead of time. If there are any words in it, make sure the copy is final. Okay, pro tip, check in with the client about any specific final art direction before rendering final artwork. Once you have finished the final artwork, ask am I confident this is my best work? Don't just send something off. You know that 24-hour sleep on it rule? Sometimes good to, if you have time, if you finish it early, sleep on it and look at it again the next day. Is this my best work? Is everything fully developed and ready to send to the client? Are there typos or stray markings? Sometimes I have other people look at my work. Does this look done to you? You know, do you see any typos here? Especially if there's hand lettering. Is the file the right dimension, resolution and format before you send it off? Sometimes I send a low-res version for approval and then I send them the high-res version later. That's also fine. Create artwork in layers for easy changes. Okay, so if you are an analog illustrator, most of you probably work this way anyway inside of Photoshop, but you might not know this. If you don't know how to layer your work in Photoshop, like create things in pieces and scan them, and put something together in Photoshop, it is a great way to make changes so that if parts of the illustration, it's not necessary, but it's an interesting way to work. So if you have to change parts of the illustration, but they don't want you to change the whole thing, you just eliminate those layers and redo them. If you don't know how to work in layers in Photoshop, it's a great thing to learn 'cause it can save you hours of heartache. Then you send it away to the art director with an, of course, friendly email.
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
Caroline Fidelaire
Great class packed very useful tips for entrepreneurs in illustration and design and great email examples on how to: - respectfully and gratefully communicate with clients in the diverse phases of the production line - negotiate a contract and your fees - how to proceed to bidding for a work contract Lisa is a wonderful speaker. A wonderful class well worth its 3 hours length.
Scavenger Annie
Right from the start of class Lisa offers up her pearls of wisdom. Absolutely jam-packed with information on working with clients, illustration agents & art directors in the commercial world. All very relevant to other careers in the creative realm too, especially when Lisa talks about the language & negotiation of contracts. Clear, concise teaching & my fingers are burning from typing so fast as I made notes! A wonderful class that has motivated me to pursue commercial illustration with my brand Northern Bird Designs. Thank you for the top guidance & inspiration Lisa! Looking forward to the next class on managing workflows.
Neelam Kaur
Lisa has immense knowledge about the industry and she shares the same with Artist Community in the form of Books, E-courses, Workshops. This class is jam-packed with great information which as an Freelance or as an New Illustrator we struggle and feel we had someone to help us understand. And I must say, the Skillshare & CreativeBug Classes other than Creative Live Classes, she focuses it all from an artist standpoint. As a Freelance Illustrator Artist I struggled managing the other aspects of my Art Business which I feel so confident after this class. And most of all I know my worth! Thank you Lisa!