Album Cover Design | Melanie Greenwood | Skillshare
Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
9 Lessons (40m)
    • 1. Album Cover Design Trailer

      2:27
    • 2. Pricing and deposits

      2:27
    • 3. Connecting With Your Music Client

      7:07
    • 4. Research Time

      2:35
    • 5. 5 Principles For Album Cover Design

      6:21
    • 6. Sketch Phase

      8:40
    • 7. Interaction With Your Music Clients

      6:19
    • 8. Album Cover Project Challenge

      3:12
    • 9. Thank You

      0:59
  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.

353

Students

6

Projects

About This Class

df9fd826

Welcome to the Album Cover Design Course! This course is for artists and designers who would like to expand their skills creating album covers for music clients. I have been designing album art for over 15 years and have toured the world with my husband who is a rock artist. Over the years I have learned some key things about designing for music, and in the this course I am sharing some powerful tips. 

There will be an Album Cover Design Challenge at the end of the course, with a PDF Album Cover Design Checklist for your convenience and review.

In this course you will learn:

- pricing, invoicing and taking deposit

- how to connect with your music clients and learn more about them so you are working in the right direction creatively.

- how to research covers of the past and present so you can identify reference material

- sketch phase: using your research to produce unique and powerful ideas

- how to create a solid mock up sample and send to your client

- how to handle client feedback

- how to properly name and submit final art files to your client

Looking forward to having you join this course and learn how to create powerful, memorable and effective album covers.

c0cde9d0

Meet Your Teacher

Teacher Profile Image

Melanie Greenwood

Designer & Founder of Vision City Studio

Teacher

Get ready to have some fun and represent your hometown!

I am super excited to announce my brand new course:)

Logo Design: Hometown Challenge! (The Circle Shape)

In this challenge, we are going to design a circle shaped logo representing your hometown!

I will be joining the challenge too and showing you my entire process from research, the sketching phase, to re-creation in Adobe Illustrator.

I also will be showing you how I approach adding colour and texture to the logo.

I have been designing logos for over 12 years now, so I can't wait to share my tips and tricks!

At the end of this course I encourage you to SHARE your logo with us in the project section!

Ready to get started?!

Let's go!

JOIN HERE

Mela... See full profile

Class Ratings

Expectations Met?
  • Exceeded!
    0%
  • Yes
    0%
  • Somewhat
    0%
  • Not really
    0%
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Your creative journey starts here.

  • Unlimited access to every class
  • Supportive online creative community
  • Learn offline with Skillshare’s app

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.

phone

Transcripts

1. Album Cover Design Trailer: Hi, everyone. Melanie here, a vision City design studio. I want to welcome you to the album cover design course. I'm a graphic designer and illustrator, and I have been actually designing album covers for about 15 years now. It is really one of the first forms of design that I had when I started my design business because I happen to be married to a rock musician, and he has traveled to over 23 different countries in many of those countries. I have traveled within two. So being on tour with my spouse who happened to be a rock artist, it really enabled me to learn a lot about artwork and about how to really create art that was gonna serve him and also gonna serve his fans. And so that's really why I want to create this specific course, because album cover art is still to this day one of my favorite forms of artwork to create my clients. In this course, I'm not only gonna teach you how to interact professionally with your music clients, there's a process that you're gonna go through that's going to be step by step in order to not only hear from your client, but also then be able to deliver artwork that's going to truly represent their music. It's a very, very personal thing to design for some of these music, not only because they will be the ones to them live on with it for many years, but there fans will also I'm also going to teach you my top five principles to creating powerful, memorable and effective music artwork. These are the top five things that I have found to be the most effective ways to bring across the right messaging and to really connect that musician to their fans. And that's really our job in this specific form of design. At the end of this course, I've also created a really special challenge project for you guys to design an album cover of your own. I've created a make belief band as well as an album title that this band is coming to you I with in order to design their perfect album cover. So what I want you to do is to use the things that I teach you within this course, as well as the checklist to really go ahead and actually apply the things you're learning, create your own album cover based on the criteria that is presented to you in this challenge and posted within the project section. This is gonna be a lot of fun to see all the different interpretations of the same van as well as just through the different styles that come forward. So I hope that you guys will go ahead and join this course and let's go ahead and get started. 2. Pricing and deposits: I wanna welcome used the album cover design course, I'm really glad that you decided to join me. And I'm gonna jump right in, not waste any time and get started on the first things first. When you work with a new music client and any client for that matter, before you start any design worker any creative or even do any conference calls or back and forth emails regarding the project. The number one thing I was encouraged artists to do or creative is to take a deposit. The reason why I say this right from the moment you start working on the project is because you're in my time is valuable. And we want to know which clients are legit and which clients are going to actually. Ah, hire us, not just pick our brains creatively. And so just for protection and just for professionalism, I would encourage you to take a deposit. Now, I was encouraged people to take a 50% deposit on any our work. You do for anybody who have a logo or music related design, as in this course. But I want to make sure that you do that. You can do that over pay, Pal. You can do that over a wire or e transfer or cheque, whatever it might be. If you have a square reader and you're with them in person, you can do it that way with a credit card. But you want to make sure to take a deposit of 50%. Trust me, I've been doing this a long time, and taking a deposit is very, very important. And it actually makes you and I not only few more professional, but look for professional to our clients, So that's really important. Now the second question would obviously be. Then how do you price your album artwork? If you're going to be going ahead and working on a album cover and you're not sure how much to charge? It really is based on your experience. If you've been doing this for a really long time, you've got a lot of really big covers under your belt. You can charge, you know, in the thousands. If you're just getting started and you've not really designed very many, then I would probably keep it more to the low hundreds, maybe 2 to $300 to start. I wouldn't really go too much lower than that because I find that you don't want to really devalue yourself. And I would absolutely, never do album cover artwork for free. Let's be honest as artists and creatives, I think we need to charge for work because it is our time being spent. And so that is my two cents you want to charge for sure. So this is really the first place that I would start with your client and right away set the tone of professionalism. That way. Let's go on to the next section and to teach you how to them connect with your music client . 3. Connecting With Your Music Client: guys, welcome back in this video, I want to talk to all about how to connect with your music clients. Now the way that you connected to music clients is really by going through a process of actually asking them questions. This is something that I have done with all of my clients, whether they be in the music industry or not. But this is one of the ways that I find really helps me to nail the design really early in the process, rather than be going through a whole range of different covers that are not going to really relate to the client at all. And then that basically kind of starts to make the client feel more uncomfortable. So I want to make sure my clients feel really comfortable with me right from day one, and I asked him specific questions so that I can learn more about them and so they can kind of share who they are with me. So I can really nail the cover right away. So I've actually created a really handy handout for you to go ahead and download as a PdF. You can download it and actually have. It was printed out having kind of somewhere in your studio, or you can have it a za pdf on your phone. What, however, way, it can really help you and serve you. Maybe it's something you could even actually send off to your clients. You can use it as a tool within your own design business if you want to. I give you full permission to go ahead and use that pdf for your own purposes. But this PdF is really a series of questions that are going to help to really learn more about your music clients. The first question on the pdf is How would you describe your music in one sentence? Now this is really asking our music clients to go ahead and describe themselves. I say in one sentence, because I find it really forces them to be very specific on how they describe themselves. Otherwise you'll hear, like a novel of information is just too much so overwhelming. But really, when we asked him to describe their music in one sentence, it's a great way of getting the raw, honest kind of answer like Are they political? Are the edgy Are they rebellious? Are they worship I mean, what is the heartbeat of what they're doing? What is the overall tone is dark as it mysterious. Is it heavy? Is it rock? Is it soul? I mean, describe your music in one sentence. The second question is, who do you sound like? So this is a really great question to ask your music clients because everybody sounds like somebody, even those people who feel like I don't really sound like anybody You don't want to fit in a box. But when you think about it, everybody is kind of they sound similar to somebody. Even if, say, for example, an artist says, You know, I sound like cranberries meets metric. Maybe they kind of mixed two different artists together in order to then kind of create more of an idea of who they sound like. This is a really great way of learning more about your music clients. Another question is, do you have any favorite music covers Now? I know this is kind of simple, but it really is a great way of just learning about music artists. For example, if they already have a very specific cover that they love, maybe it's a cover that they've had up in their room since they've been a child since they started making music. Maybe they started making music because of one album. You want to know what that is? Because it's going to really help you to get inside their heads. You know, maybe a Pink Floyd or maybe Nirvana. You know, maybe that's their favorite album of all time. Maybe that look of that old Madonna cover or whatever. It might be really trying to find out what it is that inspired them. Then that will really help you and I to nail it and to really create something that's going to really be in a similar MIDI vein. We never want to copy another person's artwork, but these are the kind of things that just help us to be going in the right direction. Now, while I'm on this topic, I do want to state that when an artist is coming to you and I are a band there, coming to us for a reason. They've probably seen previous artwork that we've done, and they're probably already kind of inspired by the type of our work that we make. So I'm not saying you need to kind of sell out or to create artwork that is not representing you as a designer but ultimately as a designer, were not just serving ourselves right. We're serving the purposes of our clients and so as yes, be true to yourself as an artist designer. But you really want to nail it so that this is something they can represent themselves with because music design is about creating an identity for a musician. And so that's really what we're working on here. Another question is, are there any colors of significance that I should know about? So, for example, some artists really relate to certain colors and tones and feelings that color is kind of create. For example, my husband, he is definitely somebody who lives in black like everything in his wardrobe is black. It's edgy, it's mysterious. It's kind of rock and roll. It really relates to him. He looks good in black, so maybe that's part of it. So Black would definitely be the cornerstone of, you know, a lot of my husband's album. Artwork's naturally because he just relates to that color. He loves it. It's a very rock and roll color of course, is very edgy. It's dark, mysterious, and so that's really what the colors he's naturally drawn to. Question Number five is another really, really great question. And that is, are there any of visuals that you personally connect with now? Visual that you might connect with could be icons. It could be a new animal, like, for example, I worked to the client recently, and his kind of emblem that he really relates to is a wolf. And so it was really easy to then build an entire concept around the face of a wolf for his debut single that I was working with him on. And so that was a really great way to, you know, the traction. It was very easy for me because his whole concept, and even in his name is is the word wolf. And so maybe there are other things that, you know artists relate to. It could be an animal. It could be a diamond. It could be, you know, gemstones. It could be, I don't know, a gun. I mean, it could become a anything, but there might be symbolic visuals that relates to that artist that they might be open to sharing with you That might to be part of their story. It might be part of their single. If you're doing a single cover, um, you know, maybe it's a certain type of a car. Or maybe it's a certain place. Maybe it's a sign that they saw out on tour somewhere, you know, like it could be a wide range of different things. Of course, however, when you just directly ask somebody, is there any visuals that you relate? Teoh. They might have a list of things that you could then drawn to really help you to go in the right direction. Now I want to remind you that this handout is available for download in the actual downloads section, and you could just go ahead and download it and just have a handy. You could also just save it as a Pdf actually, use it. I've actually designed this and you can you just go ahead and send it on and use it for your clients. But just something to kind of remember the kind of questions to ask your clients. I hope this helps you to connect with your music clients. Let's go on to the next section. We're gonna talk to you all about research 4. Research Time: in this video. I want to talk to you all about research. Now, after you have gone ahead and connected with your music client and you've gotten some more information from them, you're gonna take that information and then you're gonna take it to your research, a time which maybe is a Google search. Maybe it's going down to actual old school record shop that has rial vinyl that you can actually sift through and get concepts and ideas and really sort of research the actual category that your musician is working within what have people done with this style? Maybe in the past, maybe there's an album cover that really inspired your client that you want of research more into you want actually go get the actual album artwork that, and actually open it up, folded out. Look at it. Look at what the other designer was doing. Maybe try and get inside that other designers head, so to speak, in order to really get more of a concept of what you're going to do for your client. Research is so powerful because number one it's educating yourself so that you're not accidentally sending the wrong message is with your artwork, so research is key, and it also helps you to kind of nail the communication faster. So say, for example, every single time that we do design were always communicating messages, and so it's really important to kind of know how to do that. And the way you learn is by researching, researching all the different other types of album covers that may be fit within the kind of messaging you're trying to say. So maybe you're researching within, you know, heavy metal music. I mean heavy metal covers, for example, Or, you know, old school hip hop covers. You're gonna want to know what was done in the past so that you know how to then move forward with your piece into the future. So research is really, really important, and it also create a sense of references. What you're gonna do while you do your research is you're going to collect references. Maybe you create a folder on your phone or on your computer, where you can actually then, like refer to other people's artwork. Now, I said, refer, not copy, right? You always want to be working with a fresh mind in a new ideas but every single one of us. It's kind of like that book that's called Steal like an artist. One things I learned in that book is that we're all inspired by somebody, so nobody just comes up with an idea completely on their own. Every one of us are inspired by the world around us, so I absolutely want to encourage you to get inspired to your research, but then to create something new and fresh with what you discover. 5. 5 Principles For Album Cover Design : I'm so excited for this video because I'm gonna share with you my top five principles for creating memorable, powerful and effective album artwork. Number one is create something that is unique and or weird. Now I know this sounds funny and it sounds kind of strange. However, one of the things that are really important about album artwork is that it gets attention, right. The whole point of the album artwork is obviously yes to identify the band or the artists. However, you're also trying to draw attention to their music visually, right? So if you create something that is unique, it makes people kind of turn their head, makes people stare a little bit longer and wonder a little bit about it. Like What are they saying here is actually really, really a good thing? And this is one of the top things that I find are in the top principles of creating powerful and effective and memorable album artwork. Number two is a sense of humanity now. This could mean actually using imagery of people on the cover. It could be a face on the cover that's very, very popular, and frankly, that has not gone away. or slowed down. I find it's almost like one of those classic things, like having a face on the cover like, for example, the Adele cover or these kind of covers that we remember of artists that they kind of become an iconic cover of a face. There's something about that, and I think it's partly just the fact that we as humans, relates to humans. So when we see a photo or a visual, or like the Eminem cover, I had all the little pills that created his face. For example, Um, just the idea of a face or of the sense of humanity. Maybe it's a hand. My husband's album. One of the covers I did for him was actually a hand in motion, and it waas for an album called Stones says, the concept of like throwing stones or like being judgmental, that kind of thing. So it's kind of all related to his theme, but the idea of a hand on the cover, or of maybe it's a body or a person like maybe shot from far away or illustrated there's been disowned me, different covers that really feature the sense of humanity of people. Um a difference. You know, types of people, you know, unique emerge imagery. Referring to people. I find that that's another really powerful tool because we as humans, will always relate to other humans. The next one is juxtaposition. A juxtaposition, as you and I know is when you take two things that don't normally go together and you mix them together and it can create kind of an odd or unusual or thought provoking cover. And so this, actually one of my favorite things to see and also to create myself. So juxtaposition is we just make maybe even two different things that are usually the same size you make them, you know, one extremely large and one extremely small. Or maybe it's a very tiny picture off our illustration, for that matter of a figure in a very dramatic scene, I mean the idea of extremes and contrasts when it comes to the actual subject matter that is actually something that's really powerful. And again, that's an easy way to also deliver a message. So by putting two things that don't usually go together together than they are just opposed . But they also create a new message, like again I referred to guns and roses in the previous videos, but guns and roses don't usually go together. But guess what? When you put them together, they kind of create an interesting idea or interesting concept. And, you know, I can kind of see where that you know Band's name came from. So it's kind of an interesting idea, but not only is interesting to say it out loud, but also see it visually on a covers or on shirts. It's also a very, very powerful thing. Number four is to have a very simplistic and clear direction. I find that when a cover is a little bit more simplified, maybe even borderline minimalist, especially nowadays on, and I find that maybe this is because we as a Z people are being bombarded visually all day long everywhere we go. So when we see something that's a little bit simplified or clear, we get it right away, and then we can move on to the next thought. But when we look at something and it's not clear and we're not sure what this thing is trying to say to us, this cover that we're looking at, well, just kind of gloss over and move on, and I think that's a missed opportunity. So by making things clear and kind of simplistic enough for people to ingest on the go and in motion in their lives, then I find that that actually helps the album to be more of an effective cover. When you're designing a cover in our day and age, we have to be designing for something to be super powerful and punchy and strong when it's viewed very, very small. When we're looking at albums on iTunes or on Spotify, for example, you're going to see the album artwork. Tiny right? And it's kind of almost hurts us artists, because we want to see our artwork huge, right? We want everything to be an LP size right, the 12 by 12 inch right, So I get it. However, an ardent age, we're not gonna always see artwork in that size, right? So you're gonna wanna designed to make sure it's an effective design, both teeny tiny and like the size of a one inch as well as large scale. So maybe they do decide to create an LP like a vinyl, for example, Or maybe they blow it up even bigger, and it becomes the backdrop on stage for a tour or a huge banner behind their merchandise booth. So you want it to be effective both huge and large as well. It's really, really tiny, and that could be a bit challenging. But if you refer to the other of the principles, and it's probably gonna work out that way anyway. So if you go ahead and make it unique, have a sense of humanity on that. You don't have to use all of these principles. However, I find these are really important to at least try out the concept of juxtaposition, simple, clear direction and then the size. So I hope that this is really helped to thes top five principles to help you create effective, memorable and powerful album artwork. 6. Sketch Phase: Hi, guys. Welcome back in this section, I want to talk to you all about the sketch face. Now, the sketch faces a lot of fun. This is actually where you and I, as artists and designers and creatives we gets, actually take all of the reference material we've gathered all of the research that we've I discovered, and we're gonna then go ahead and pour it all into our own creative sketching phase. And this is a really, really important phase because obviously this is the actual creative brain being turned on . And now we're actually visualizing and conceptualizing how we can take all the information we've gathered and pouring it into one awesome, powerful cover. And so what I would do in this stage is I would literally refer to some of the images that I've found. Sometimes I'll actually have them up on my screens just to kind of visually be there in front of me as I'm working and I will literally take a piece of paper and a pen and I will start to sketch Now. I know not everybody does this, but I'm just sharing with you what works for myself, and I will literally use. This is actually just my day planner. It's not even a sketchbook, but I will use whatever, um, paper that I have nearby, maybe a sketchbook or in this case, a day planner and I will begin to sketch out ideas for the concept I'm trying to create. Ah, lot of times also write down words as well that I want to create what feelings I'm trying to create. So maybe words like mysterious, dark, heavy, deep, maybe beautiful, maybe feminine and floral like whatever it might be the words that I want to then describe the artwork with. I write those words down, and maybe that is something new to you. Maybe have never done that before, but I find that really helps me when it comes to creating album artwork. And frankly, I do that with almost any form of design I'm working on because I find it helps me to kind of get in the right headspace to then create visuals like, say, for example, I'm trying to create something that is dark and mysterious. I have to then start thinking about imagery that makes me think of dark and mysterious, right so that it kind of sends you down a direction that will kind of help me work on a concept. So what I would do is I would literally sketch out concepts on a sheet of paper, and in this case it would be like square images that I would start to draw that because obviously in our case, we're working on an album cover and it's gonna be a square for the most part unless you get it printed and maybe be a little bit of a wider square. But online on social media, pretty much everywhere. It's gonna be pretty much viewed as a square image. So that's hard to kind of sketch in some ideas of what I could possibly use to create this cover. From there, I would literally fill a sheet with ideas. Maybe just little sketch stick figures of people doesn't have to be perfect just to kind of get the ideas out. A lot of people might not agree with me on this. They might say, Well, why would you do not paper? You can do it right on your computer, and that is true. If you wanted to the paper thing, you don't have to but I just find it helps me a lot to just quickly get the ideas out. And in that little tiny square, Aiken tell whether or not it's gonna work or not. And that way, I'm not wasting time developing an idea on my computer that might take me more time, maybe sourcing the image or on maybe look on stock photos, for example, or drawing out the idea. An illustrator, which takes time, right? But if I didn't sketching out really quickly, I will know by looking at it. If that's going to really convey the right type of a cover for my client from there, I'll actually decide on one concept. Now. One concept is really all you wanna work up at this stage now. In the past, I've designed more than one of, like, spent a lot more time designing three different concept and then having them present three ideas to my clients. I do that with, like, logos or with other things, but I find that with music design, it actually just kind of confuses people and you're sending on music artist three completely different cover directions. It actually just makes the whole process a lot longer and a little bit more overwhelming, not only for you, because it's gonna take you a lot more time, but also for the actual client. So this is a personal thing that I do nowadays. This something I've learned with a lot of blood, sweat and tears is that I create one great concept and I will then take that concept and work it up to be a great sample. So I will then use photo shop use Adobe Illustrator. I will do some things by hand if I need to. So you're gonna then work up that file to be the best possible sample. So one of the tips I want to offer you at this stage is to make sure you're designing large enough so that your artwork is large enough to then be scaled down if it needs to. But scaling up, as we all know, is not usually a good idea. Because we'll lose pixel ization and will actually become will be degrading the quality of our cover. So I encourage you to at least be designing at 10 inches by 10 inches at 300 d. P. I and you're gonna want to be designing in CM like a color palette and the recent wise because you're gonna want to see how the colors are interacting together in CM like a. You can always later change it to RGB for the sample purposes or to use for online purposes . But I encourage you to be designing in a two least 10 by 10 inches squared as well as at C N y que. This is just going to totally eliminate a lot of challenges later on that will present themselves. If, for example, you're printing this out later on, maybe you're doing an LP, or you are doing something that requires this to print it out, so it's very important to design it at least 10 by 10. You can go a bit larger if you want, but this is just going to eliminate a lot of challenges later when it comes to scaling. So once you've created your sample artwork and you're ready to send it off to your client, you're going to go ahead and save it as a five inch by five inch ah, 300 d p i j. Peg and you're going Teoh, change it over to an RGB color palette. I know this is kind of techie, but it's important to do these things. So that number one, the file is not too large for your client to open number two. It's an RGB so that they can visually see it beautifully on their device. A lot of our clients are gonna be looking at things on their phone or on their computer screens. So you're gonna want to make it really easy for them to see the details and the colors off your design. And RGB is the best way to see them on screens. Okay, You're gonna go ahead and save your J peg five inch by five inch, 300 dp I image. I mean, you could always go down to 1 50 dp i if you want, but I just find to try and keep it as high quality as possible just to convey the best quality in your sample. Then you're gonna go ahead and email it over to your client. Super Super Easy. Send a very short email, you know? Hey, Joe, I'm so excited to share with you this concept I've developed for your album cover let me know what you think and then sign your name. You could if you really, really want. Put one more sentence in there describing the concept. The concept behind this cover is blank. Thank you. Let me know what you think. It's on your name. Don't put in a really long email. Um, it just again. It's overwhelming for your client and you don't want to do that. You want to be short and sweet and frankly, you want your artwork to just ah, speak for itself. And you want to be something that they can relate to and kind of develop their own thoughts on. It's kind of like when a real estate agent is showing a home, for example, and they tell you to then go ahead in and they'll kind of following behind. It's like they want you to discover the home. So in the same way, um, you want your client to kind of discover their own feelings, your own emotions, um, responses to the artwork. And if all has gone well, and if you've done your job and if I've done my job as designers, what we want to receive back from our client is wow, this is exactly what we should go with. We love it. It's something that we want to work with. Thank you so much and that kind of thing. So in the next video, I'm gonna share with you more on the back and forth, interaction with your clients and how to handle that with complete professionalism as a designer. 7. Interaction With Your Music Clients: Hi, guys. Welcome back in this video. I want to talk a bit more about the interaction now, as you are submitting artwork to your music clients, whether it be a band or music artist. Or maybe it's even their record label that has to get involved or a and R whatever it might be, maybe their manager is involved. It's really important for you to kind of know what to do when it comes to submitting to them now. One thing I did not mention in the previous video, which is also really important, is to take the art file off the cover your submitting to your music client and you're going to shrink the actual size of it without losing quality. Now the way that we do that is something called tiny PNG dot com. Tiny PNG is awesome, and I use it all the time. I actually use it for my website to shrink images that my website loads faster, which is another a little tip for you guys, but it's really, really a great tool. All you do is you drag and drop the art image on top of their kind of interface There. It'll actually shrink and compress the file without diminishing quality, and it's a really, really great tool. So then that way your music client can open up their cover file on their phone or on their computer, and it just makes it an even smoother process for them. So I do recommend that tiny PNG dot com very, very cool thing to have in your tool belt. So once you have already sent your client your concept for the album cover, the next thing you do is really weight on their response now, as you get their response, they may have different feelings about it. They may love it. They may not love it. If they don't love it, then the next thing is to really discover what it is that they don't love what it is that they were not related to our relating to, um and really discover with them, maybe even over the phone. I know this. The phone is kind of old school concept, but people can actually talk on the phone. Still, I know we live in like a texting and emailing and you know d m ing world, but the the phone like I know it's like an old school thing, but it will actually help you a lot. Just pick up the phone and call them and let them know that your number one goal is to meet them where they're at and really serve them, and let them know that you're there to really nail the cover. So discuss with them what it is that was working, what it is that maybe wasn't working and then go back to the drawing board and then take another concept from that sketch page that you done on and really work up another concept. So I like to do it that way rather than to present a range of ideas and then have them just choose the 1st 1 anyway. This way, you're kind of being more time efficient. And you're not wasting either their time or yours. So you want Teoh. If you have to redo a concept, go for it. Just do it. Do with a smile on your face to don't like, you know, freak out on them or give them any attitude that never goes over. Well, ultimately, they are your client and you want to serve them with with, like a really great experience overall. So once you hear feedback, maybe the client responds and says, Oh, my goodness, I love this. I just wish it was read or I just I love this, but I wish it was in teal blue or whatever. Then you're gonna take that feedback and do the final touches on the cover, and it might mean slight rece izing. It might mean slight changes of a texture or off their placement of their logo. Or maybe it's recreating their logo because they're old logo doesn't really fit with the tone of what they're doing. Whatever it might be, you're gonna do those final touches and then send them a new sample, which is going to be marked, edited or update it. And this is a really great practice. Overall, you never want to send the same, um, file name to your client. You always wanted to have a slightly different at it. A lot of times, if I'm working on an ongoing project, for example, I'll actually just date the file. So I'll say, like cover up date June 12. So then that way they know exactly which date that you worked on that so that we all know what What page, Ron, So to speak. I found that really helps me. So you're gonna basically work up the final final final and send it to them for their approval. And then once they approve it, you're going to then re send it back to them in the specified sizes that they need now on the screen. Right now, I'm actually going to have the exact sizes that are four online music streaming or purchasing websites. So, for example, iTunes, Spotify and then these are some of the things that you're gonna want to be aware of so that your sizing things appropriately, you can send these in one folder. So that's nice and clean. They can get everything together and you just name the actual file. Like, for example, I would say the name of the client, the name of the album. And then they did underscore and then where it's going to be used. So maybe this is going to be is on iTunes or on Spotify or on another online streaming ah site if they request it. But I find that that makes it really easy for your customer. Your client in this case to then use the file and upload it so that they could have their cover in use right away. After you have sent the final artwork to your client, you're then going to invoice them for the balance of what they still owe. In this case, it will be at the left over 50% that is now owed upon completion. Now, as we started this project, you invoice them or you requested the 50% deposit. And now is the time to request that the final balance be completed in full. I don't do any kind of like 30 day thing or 20 day things. Some people do that, and I just find it's just so much more complicated than the client. Later for gases, They owe you money and then you're running after them. I always say to them, This is due upon receipt. So when I send you an invoice, I expected to be paid like that day or the next day. If it's not paid within a few days, you just send a friendly email saying, Hey, um, just wanted to follow up with you on my final invoice. Thank you so much for completing It was a pleasure working with you. You always want to keep it upbeat and happy, but let them know that you're definitely professional and you do expect to be paid on time . So I hope you guys have enjoyed this specific video about client interaction and hope. It's really served you just to make the process as smooth as possible and as positive as possible for your music clients. 8. Album Cover Project Challenge : Hey guys! And welcome to the Project Challenge section for the album cover design course. I'm really excited to share this project with you, which is really going to be an imaginary band that has come to you and I requesting a brand new album Cover. The name of the band is called Embers. They are a modern rock female band, and they're releasing an album, which they've entitled Tuesday. The concept of the album is that extraordinary things can happen on very ordinary days. So hence the name Tuesday. Now what I've done is I've actually kind of asked Thies this imaginary band questions and these are their kind of hypothetical answers for us to use within our design. The first question I asked was, How would you describe your music style in one sentence? And they said they would describe it as edgy modern rock music. The second thing I asked was, Who do you sound like? And their answer was, Cranberries meets metric. Thirdly, I asked, Do you have any favorite music covers? And their answer was Pink Floyd and Rolling Stones. The fourth question was, Do you have any colors of significance there? Answer. Waas, Teal blue, grey, white and black. And lastly, I asked if they had any visuals that they connect with. Their answer was the ocean metallics and geometric shapes. I also asked them if they had any last thoughts that they wanted me to be aware of. And their answer was that they like the idea of juxtaposition, so mixing two kind of different things together to create a new message. So I think that could be a really creative and fun jumping off point for us as designers working on this project. So what I'd like you to do now is go ahead and download a checklist that I've created for you, which really just kind of gives an overall outline of some of things that I have taught you throughout this course. You can go ahead and just check off as you're going along. Now this checklist does not have to be completely checked off, but it's more of an overview or a reference point so that, as you're creating in kind of referred back to it. Now what I want you to do is to use your own style to kind of create a brand new album cover for this band members, And then I want you to go ahead and post it on the project section and share some notes about it, maybe share your thoughts of the concept that you've created, And then we can all kind of share our work and really give each other some great feedback. I think this is going to be an amazing project because we're going to get a wide range of different creative ah, perspectives and ideas all on the same band. So again, this is the Embers Band, and they're releasing an album called Tuesday, so I won't encourage you to participate. Create something special. You can even create something by hand if you want. This is really wide open, but I encourage you to again refer to the criteria. Have also written it again in the project section just that you can refer to it visually as well, and I hope that you'll enjoy creating an album cover for this band. 9. Thank You: everyone. Melanie here at Vision City Design Studio. I want to thank you again for taking the album cover design course. I hope that it's really served. You inspired you when it comes to designing album covers and designing for music clients. Maybe this is something you've never reached into before. Maybe never done before. But maybe this is something that you could enjoy doing. So I hope that this course is served you and I hope that you've had an opportunity to maybe participate in our project challenge. And if you haven't, I encourage you to do so. It's a lot of fun. It's a great way to practice design skills again. Thank you so much. I encourage you to click the follow button. Ask that you could follow along any future courses I'm launching. I'm constantly launching great new courses for you guys. So I hope that you will participate in those as well. Thank you again. And I hope that you've enjoyed this course