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The Successful Creative Workflow

Planning

  • For larger projects (i.e. album releases, touring, events etc.), you should plan way ahead and establish what is needed and when it’s needed. 
  • Think months ahead. Not weeks. And definitely not just days.
  • Create a timeline with key deliverables and allow for flexibility.
  • Work backwards from any milestones and your preferred launch date.
  • Contact us for help with project timeline development and strategic release planning.

Preparing

  • Establish messaging consistency in all reccurring phrases, punctuation and formatting. Then stick with it.
  • Make sure all copy is proof-read rigorously and check re. the above consistency before passing copy on to the designer. Avoidable changes after the design stage can be expensive and cause delays (see below “Amends”).
  • Put as much care into the preparation of the assets and the accuracy of the details you provide as you expect from the final creative output.
  • Never expect the designer to correct typos or consistency errors for you.

Brief + Assets + Copy/Content = BACs

Processing Specification

  • Be absolutely clear about what the final output is going to be: website, email, CD or vinyl packaging, video, social animation, booklet, poster, flyer, brochure etc.
  • For jobs that require further processing (i.e. print), request exact specifications and file type requirements from the supplier in advance. In many cases a  print template as part of the BACs is the safest way to avoid production issues or costly reworks.
  • Do not underestimate the importance of print specs. Any lack of precision or missing details can result in sub-par output quality or reworks. We call it “garbage in, garbage out”.

The Brief

  • Always write a brief.
  • The best way to get a good final result is to start with a good brief. Aim to provide as much information as possible and, tell us what you’re trying to achieve.
  • Imaging anyone new to your project or brand picking up the work (i.e. a contractor or new team member). They have no prior knowledge of your preferences and background details. That’s what the brief is for.
  • Writing the brief will also help you focus on what the objectives of the delierables are. Sometimes, the solution you thought you need is not right for the purpose.
  • If you have a specific vision or idea, existing examples or stylistic preferences, put it in the brief. Do not expect the designer to magically read your mind.
  • The worst instruction is “just come up with something great”. Tastes can differ massively. If you don’t want to risk a clash between your own expectations and the designer’s interpretation, take the time to describe your vision in as much detail as possible. If the designer needs to start again after a sudden change of direction or a loose brief, expect extra costs.

Note:

A copy/content document is not a brief.

Deadlines and Turnaround Times

  • Set realistic deadlines, and if in doubt, ask the designer about their availability to deliver to your preferred deadlines. A graphic or web designer needs time to think, research and experiment. Timeframe estimates will always incorporate this element.
  • Expect anyone who is not on your payroll to accept other work if you don’t provide BACs when you said you would. Respect the agency’s lead time policy for new tasks and projects.
  • Never assume the work can be picked up the minute you send the agreed BACs. Small agencies work on approx. 85% utilisation on a rolling basis for maximum cost efficiencies.
  • Start by providing a heads-up brief: if you know a task is due to start soon but BACs won’t be available until a certain date, let the designer know what’s needed and when to expect everything. Then stick to that date. It will help to secure the required work slot.
  • Always communicate delays and changes that happen on your side in a timely fashion. It’s a bad look if a creative resource is due to start work on a scheduled task and has to chase the client for BACs before being told that a job has been cancelled or is delayed. In some cases, the agency will charge the client for underutilisation (= time wasting).

Amends

  • The same care and rigor that feeds into BACs must be taken when communicating amends.
  • Note that the process of re-opening a WIP (work-in-progress) project or artwork file is a task in itself. Creative file systems can be complex, especially when handling multiple clients.
  • If there’s more than one stakeholder on your side, collect all feedback and requested changes first, then sense-check before submitting the required amends to the designer.
  • Unless otherwise agreed or explicitly mentioned, all creative projects include two rounds of client amends – one to address any significant changes, and then the second round for any final minor details, corrections/typos in the original copy/content. Of course, there may be times when further changes are required, but they should be the exception. 
  • Drip-feeding of changes should be avoided under all circumstances.
  • Additional rounds of amends almost always lead to extra charges, especially if they are down to a bad brief or incomplete QA.
  • As a rule of thumb: a good brief, thorough and consolidated QA (quality assurance) and detailed proofreading throughout can easily avoid any extra rounds of amends.

Note:

Designers make mistakes too. Be assured that correcting those will not count as client amends and do not result in extra design costs.

Useful templates

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