Proof, proof and then have the client proof again. Nothing is more painful then sending the printer a file with a crucial error on it.
If you are a designer working solo you may not have access to instant feedback as you would if you were working for a company or on a team. There are several great resources online for designers and thanks to social media, a lot of groups you can join online as well.
When I get to something I can not just google, I contact a small nit group of designers I have come to know and respect over the years. In time, your resource group will grow organically. One way to make it happen more quickly would be to join art and design groups on facebook or meetup.com.
Through local art groups, I have found a lot of talented designers that have become my friends and are always inspiring me.
Another option is to simply ask friends and family for feedback.
I use to work as Art Director for a popular radio station creating all kinds
of promotional art. I would create a document with about 5 different versions
of the artwork for a promotion, place it on the reception desk and ask
anyone passing by to check-mark their favorite design as well as
write down any feedback. Just because people do not have a background
in design, doesn't mean they don't know when something looks good.
Plus, it brings a new energy to the work, is more inclusive and it's fun.
Asking for feedback is a 90% guarantee that you are going to come out with
something better than you originally started with.
There are several websites that provide great design support as well. A few of my favorites are w3schools.com/css & youtube.com for online tutorials.
Proof, proof and then have the client proof it again. Nothing is more painful then sending the printer a file with a crucial error on it.
If you are tweaking artwork in Illustrator or Photoshop confirm that the other layers are locked. Doing so will ensure that nothing else gets affected when you are editing the file.
After every change, no matter how "little", have the client review it again and confirm it is what they want. The last pair of eyes to confirm a project should ALWAYS be the clients. Ideally you will want to proof it off a printed copy and not off the computer. Errors are more likely to get overlooked proofing over the computer. It also doesn't hurt to "sleep on it" and send out the final version the following day.
Ideally before any job goes to the printer, have the client physically sign the final proof.
You may have seen the joke going around about how a designer saves his files...
Give yourself 12 long hours into a project, a million "little changes" later, and see what happens. Even if you get the clients changes correct, you could possibly screw something else up in the file just by editing it at all. Every time you tweak a file, there is a chance of screwing something else up. This is why we save files as "Final1.jpg", "Final2.jpg", etc. (like in the picture)
You could also try creating a new folder altogether and calling it "Final 4 Printer" or something to that effect. Then save your final documents into that new folder. Although you may end up with a lot of "final" folders. "FinalFolder1","FinalFolder2", etc. :)
Another option is to save a file with the current date in the name, "FinalCopy12-4-15.jpg". However that won't work if you are making changes hourly.
If you know the end results for your clients artwork, you can provide them with exactly what they need. Typically logo design or any graphics used for print should really either be a hi-res jpgs or in an eps/vector based format.
In the case where a client does not have the software to be able to proof an eps, you can always save the file as a pdf or a jpg. Just remember, when you start getting into saving alternate formats for proofing it can get messy.
Best way to send most files to a client for proofing are pdf because you can send that same exact file, (usually) to a printer who can convert it to whatever they need. However, I have run into a situation where someone was using a printer overseas and that printer did not know what to do with a pdf. So live and learn.
I have completed artwork for highway billboards as well as for business cards. I like using vector based images because it provides one solid image. In other words it's not breaking up into pixels like a jpg file. This is good when you want the end result to be versatile, easily used for small or very large print jobs without loosing quality. The programs also run faster when you are working with vector art which is a nice bonus.
A lot of the time client's do not understand this lingo and if you can get them to put you in direct contact with their printer you'll both be better off in the long run. Find out directly from the printer how they would like the files provided. Often, the printer will even have templates for you to use for various print jobs.
Picasso once said "Good artists copy, great artists steal." That can be a very taboo topic in design. However, when you want to create something genius for a client, it is helpful to look at the work of the geniuses that have come before you.
I use lots of different references depending on what I am looking to achieve.
One reference I use a lot is art magazines and they are free to look at at the bookstore. My favorite magazines to look at for layout or advertising is "Wired Magazine". They always have the best designs. I also keep several logo design books around for reference. You can probably check these out a local library as well. I use Design DNA "Logos", which is great because they actually dissect the logo. for instance, a cursive font may display femininity while the color brown adds a more masculine feel. You can buy this book in paperback on Amazon.
Another option to improve on your design skills is a weekend crash course. I have done several and it doesn't matter if you've been doing design for 15 years or just one. Everyone has something to learn. I was using Photoshop and Illustrator for probably 10 years before I went and took a weekend Adobe Illustrator crash course at the Art Institute of Atlanta. My work and time improved immensely.
There are countless online tutorials for brushing up on this or that, or how to achieve a specific effect, etc. Be sure to do shoutouts for the designers after you have used their tutorials. It's the least you can do when someone just taught how to create inverted text along a circle path. You can also subscribe and share on social media to help them out.
Most designers are artists at heart. When you start putting all of your passion into your client's needs it can be creatively draining. It's important to get away from the computer and get back to what you love. That doesn't mean you are not still working on your client's artwork.
You may need to draw a dragonfly or a frog for someone's logo. It can be a lot more fun and rewarding doing this offline in a sketchbook in a park or sitting in a cafe with a hot mocha latte'. It rejuvenates you, it shakes things up. Staring at a computer screen all day can be a creative killer. Get up, get out and get back to what you love so you can give your client, something that they love.
The key to keeping clients happy is managing expectations. Read up on creating good design contracts.
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About the author: Jessica is an artist and designer living in the San Francisco East Bay Area.
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