Freelance: How to Navigate Working on Client Projects

1. Welcome to class!: Hello everyone and welcome back to another class from me, Kristina Hultkrantz, I am an illustrator and surface pattern designer based out of MarieFred, Sweden and I have around 12 plus years of experience working on freelance projects or as freelance basis and I've nearly worked full-time as a freelancer for 10 years. So I have a lot of experience, I'd say and I have learned from plenty of mistakes. The point of this class I suppose is to make sure that you don't make the same mistakes. So this class is all about working on client projects and I'm going to share as many tips and tricks as I can to make the process of working on client projects really smooth and positive so that you continue to get projects on the same companies and then they will recommend you via word of mouth to their other colleagues and friends and staff, so the ball starts getting rolling for you. This class is geared towards beginner students who are just finishing up their portfolio of work and they want to start taking in client work or possibly you have taken in some client work, but it hasn't been going as smoothly as you would like it to, so this is great way for me to share some things that hopefully will help you. In the class, I'll be covering everything from how to streamline your workflow, how to protect your work when you are working, I'll do a little section about contracts and also just how to make sure that everything runs smoothly, that you get all the information that you need from a client, how to look professional, and all that step. The best part about this class is that I have created two briefs that you can follow along and use to create work of your own. It's great if you've never worked with a brief before for ready client before, so this will give you a really ideal idea of how it could go down. In the actual briefs, I have filled them to the brim with even more tips that you can read through and how my thought process works and stuff like that and I will guide you along the way, I promised. If you'd like me to take a look at your work and act kind of like a client, I would be happy to give you feedback on your project. So if this class seems like it's for you, then keep watching. 2. Class Project & Supplies: In order to take this class, you will only need the supplies that you need to create your own original personal work and that can be a traditional media or digital. As long as the end product becomes a digital file but that whole process is up to you. I won't be going over any drawing tips or anything like that in this class, but I have plenty of other classes that you can watch to get inspired by my workflow and how I work and other aspects of freelance life. For the class project, you can follow one or both of the briefs to create an original unique illustration or pattern design artwork that follows the specs that I have given you in the brief and please make sure to share your work too in the project section because that's really fun to see. Later on in the class, I'll go over the briefs with you so that you have a really great understanding of what I'm looking for and what clients usually are looking for and all that jazz. 3. Pep Talk : At the beginnings of my videos, I love to include a little pep talk section because I think it's really important to just give you a little boost in confidence and tell you how it is for real at least in my opinion and how in my experience. When I was just starting out and I started getting project or client requests for freelance work, I felt so incredibly insecure about my work. But mainly the process of actually doing business with another person like, how does it work? What do they expect from me? Is there a certain order that I should be doing things and stuff like that? But after years and years of working with different clients, I have finally realized that it's always different with every client or it differs slightly from person to person because everyone's unique and companies have different standards and different requests and different specifications they need to have for their companies. If you ask lots of questions, you're not unprofessional or unknowledgeable you're actually the opposite, you are a professional and you're asking so that you can deliver a final product that is exactly what they're looking for. I'll say I'd like to mention that, if a client is reaching out to you with interest to commission a piece of art or designers and they like that, it's because they are interested in your style. They think that you have talent and value to give their company. I would see that as a huge ego boost that accompanies wants to work with you. That's incredible. I've worked with big companies and little companies with just one person. I have worked with companies on projects that are quite huge, other projects that are quite small and take me no time at all. I can't say that there's a certain project or certain type of company that's always the same to work with or easiest to hardest, because every single person is different, every company is different, stuff like that. Now much advice to give their just you have to, for the most part, I would say don't be afraid for about working on custom projects, it's really fun, it's so nice to get somebody else's idea and try to bring it to life. It's really exciting. Sometimes you don't create the work that maybe you're a 100 percent in love with because it's not something that comes from your heart, but I think you can still create work that's very good and exciting and inspiring and nice, or just sometimes just make work, [inaudible] got a paycheck and maybe that's sad, but that's also the part of being an illustrator or designer as your job, you're not going to always get the projects that you're completely in love with until you come to a certain level where you can pick and choose exactly what you want and unfortunately not there yet, but maybe one day. Also, I'd say, for the most part may be 99 percent of the time, people are very easy to work with. Communication is pretty good. There's no so many hiccups when it comes to contracts or payments and stuff like that. It's a very select few times where you'll have problems like that and I think from the bat, go understand that a company's going to be difficult to work with. They seem shady from the beginning they are going to be shady at the end as well. I think it's important to not take work from anywhere and everywhere, use your instincts when it comes to that. The main point that I want to stick with you guys is that, every client is different, every project is different so you don't have to feel there's a certain way that freelancing always works for every single company and every single freelancer. It's completely different for everyone. Also, all the tips and things that I'm sharing for you are things that worked for me, please feel free to take what you want from how I work and tweak it and make it your own so it fits your personality and how you like to work so that you make it your own as well. Let's get into working with the client, getting your first client project. 4. 1st things 1st : In your inbox you got your first custom illustration or design request and it's really exciting, but now what? How it usually goes down, I would say, like 95 percent of the time, let's say, mainly be that a company just e-mails you with a little slight description of the project and asks you for your price list. Maybe they would say, we're looking for a full page spread for our spring issue in a magazine with this theme, and then what is your price list? Then at that time I would get back to them and ask them a few more questions just so that I can give them a better quote. I have a whole other video about pricing and how to do a proper quote and all that stuff. I won't go over that, but please take a look at that class if you'd like more information about that subject. Once you've done that process and you have come up with a little quote to begin with, because that's the most interests, they are from [inaudible] to know how expensive you are and your interest from them as to know what you will be creating and how big of a project it is. Once you have that initial part where you got a feel for the project. You need a little bit more inspiration, informations that you can create the project exactly to how they'd like it. Sometimes companies is also like, we don't really have anything in mind. But I find that that's never the case, there was something in mind. You as the artist, they expect you to like figure that out. That's another issue. [inaudible] I will then e-mail them and ask them for a description of the project with more specifics or if they have a proper brief. Sometimes the company will even say that they will attach a brief that they have. Not all the time you will get a streamline design beautiful, brief with tons of inspiration and information about the different specifications about the project. That's, I would say, very uncommon, but it does happen and it's really nice to get as a designer so that you know exactly what they're looking for. You have all the information in one place. But if you don't, It's fine to just have like an e-mail thread that you are going back and forth with different information. That works just as well. What information do you need? You definitely need to know what the deadline is, how many days, weeks you have to complete the project, it's also very important to know what size or format that they are looking for. Are they looking for a specific size like in inches that if it's going to be printed, that they need really, really high rates, they can give you specifics or if it's going to be on packaging or something like that so that you make sure that you create illustration and design to the box sizes or something like that. For the t-shirts, so you know that it's correct size, something like that. Format also is important to know if they would like to have a raster, if that's fine, like a JPEG or PDF, high [inaudible] Or if they would like artwork that is vectorized. Then it's also nice to know if they have any color specifics, if there's a color palette that they have in mind, if there's any specific colors that they absolutely don't want to use or amount of colors depending on the process, if depending on the project, there could be a color limit, so those are very important things to have in mind and know about the project to begin with. It is paramount that you get these things before starting on the project so that you know exactly what you're doing, so you don't waste time and have to start over if you create the illustration designed to small et cetera. Or if you started working in a raster basis and they actually want a vector file in the end, it's very important to know all these things. When you get a project and you have gone over the first details of the projects, you know exactly what you'll be creating and the deadline for when you have to have it created. You've also written a proper quote, and you've agreed on a payment for the project, then it's time to send them a little contract to protect your work and make sure that you will be paid. Contracts don't have to be super complicated and scary, that you can make them quite simple and streamlined. Just important to have a few key things, to make sure that you protect yourself so that your work isn't going to be used in a way that you don't want it to be used so that you get compensation for the time that you put in on a project, and then you get paid in full if the whole project is completed. 5. Contract Overview: Let's quickly jump into my computer and I'll show you what my simple contract looks like. Here is my contract that I use. It's just one page because I think multi-pages, nobody has time to read through all that. That's going to be way too much information. I have my logo at the top, and then these are the things that I have. I have eight points that I include at the bottom, I have a space for the signature and the date. Let's zoom in a little bit so you can see a little bit better. At the top I have the date when this contract was written and then the contract between me, Hopkins, and then the company, whoever that is and then the first point I outline the project. The illustrator has been commissioned to create bla bla illustration for this than this thing. Just an overall description of the project release at will. Then the second point deliveries final, how it's going to be blood delivery, looking a file format. Also state in case of delay, the illustrator will promptly give notice to the client. Also, the decline has to let me know about any different changes to the project and stuff and then I will be entitled to special compensation and that I will be paid in as my hourly rate listed below as well. Then complaints I also have as my number 3 point and the illustrator or grants client three rounds of changes after which would be invoiced hourly. That I think is one of the important things just to protect your time so you're not going to be wasting your time and your client is going to be walking all over you, knowing that they can make as many changes as they want to forever and ever. This is a good way to make sure that they are working diligently and our consequent and get the project done in a timely manner because nobody wants to pay extra. I've never actually ever had to invoice someone extra hours because this has worked on enough. I also state that after eight days of delivery of the final materials, the work is considered, approved and then they can't come back and be like, "Oh but you didn't do this right. It's been over a week and you haven't made any comment", also if they pay for it, then is also considered, it is approved and final. Compensation, this is the area where you would put in how much you want to be paid and then additional work. Over what's described in paragraph 1 is it gets invoiced at an hourly rate of 750 preliminary that's just what I take at night. You can change what it says here. I've stated that illustrator will be compensated for the project in full, even in the event of the cancellation of the project. You can also change it to that you'll be compensated for work put in like if you get halfway done, then you will be compensated for 50 percent to kill fee. If the project is canceled, you can say a kill fee is so and so amount. That's up to you. Usage. This is also important that you see exactly how an illustration or design will be used and what you have granted if you have solved the copyright or if you've licensed, were it's like a work for hire is exclusively for them or like half or if it's non-exclusive it depends. Here I have written the illustrator grants the right for their use illustrating materials as follows. An example would be exclusive rights to print artwork for the company only, depending what it is, and then the transfers. The illustrators transfers the full copyright. I think it's important to always state that the illustrator, you always have the right to use materials in your own marketing and portfolios. You can show it on Instagram later when the project is finalized, or that you can have it on your website as an example or addressed in your portfolio. It's also important to state that the client may not reassigned it's rights under this contract and they may not transfer, resell the rights. They can't sell the artwork to someone else and make money off of it. You should also be credited in accordance with good practice that they see somewhere, they create a tuning somewhere. That would be nice. But it's written in a way that does not necessarily, they don't have to, but it would be really nice. Six mostly I've numbered these wrong. You don't have to redo that. Number 6, at least is the illustrator will not disclose any information about the sailor publish any materials until the final materials had been delivered. Sometimes if you're working on a project that's not going to be released for a year and a half or something. You agree to not share any materials or the final work until it's been published by the client and its fine. You can always elaborate on that point depending on the project. What should be number 7 billing. This also depends on how you like to work in how you like to be paid. I have written here 100 percent opinion voiced upon approval of quoted sale. You could also do 50/50 that you get 50 percent upfront and then 50 once the project is completed. That's also I've done that many times. It's also very good or even better payment terms. It also depends on the client and the project. I usually do 20 days, sometimes a bump it up to 30 days if that's the company's policy. I also state that are quite answer Swedish law. The illustrator meanwhile, tax on incomes that they know I'm doing my taxes, which is always important. Which should be eight original work. I like to state that the ownership, the original material will always be illustrators, that it is my original work. It's simple as that. Number 9, the last point is that changes in additions to this contract shall be made in writing, as well as signed by both parties to be considered valid as just like a regular contract thing. Also, any dispute shall be settled through negotiations between both parties when possible, larger disputes will be settled in accordance with Swedish law in court. It's pretty extreme. I doubt that whatever happened, but if it does, it's written here so that you both know that the contract is there's two copies and then you have your signature and the signature and so everything is signed in perfectly, legal and everybody is protected. Both the claim that you are agreeing to deliver to them, I didn't mention here, but you can also delivery state that due date as well. When you'll be delivering to you have to hold yourself accountable to that. Then also if this protects you so that you're not wasting your time with a client who's just going to go on and on making changes. You are also going to make sure that you get paid when you're going to be paid, how much you're going to be paid. Feel free to use my contract as an example when you're creating your own contract. I haven't used a lawyer to create mine, so feel free to have your lawyer look over your eyes just to make sure double check that there's nothing missing that they can see, especially for your country, has different laws for different countries, etc. What you have here, a simple contract signed by both parties and you can get started on the freelance project, and this is the fun part. In the next video, I'll share some tips about streamlining the process of creating your artwork for the client and working one-on-one and projects like this. 6. Streamline the client work process: Now it's time to get started on the actual project, and how do we make this as smooth process and positive as possible. What I like to do is, I quickly make some sketches of a few ideas I have for the project using the information that they had given me either from the super beautiful brief that they attached in their email or using the descriptions that they wrote in the email text. Maybe they sent some inspiration photos or maybe examples of your work that they saw on Instagram or something like that, that they would like you to emulate. I create a couple sketches, maybe two or three. You shouldn't do too many because then you give them too many options to sort through. Start off with two, and these sketches do not have to be super detailed. They can be really, really rough, used the one I outline. Just the overall look of what you're what you're thinking, and then you can move on from there. Once they have chosen the direction that they like from one of your sketches, then you can create a sketch that's more full done, like more full-on. So that has all the details in place, everything's good to go until, before you create the final version. So you send that off again to get some feedback. At this time I would try to coach the client into creating or making as many changes now as possible, when it is in this pencil sketch stage because that's the easiest. It's important to keep your emails friendly and positive. It's important to seem open to creating changes and make them being open to creating an artwork that they're going to love and exactly what they want to their specifics. But it's also, important to give the client some limitations so that they don't walk all over you and just every email they're, oh, can you move that five centimeters to the left. Oh, can you change this and this and this. I think it's important, especially in your contract to begin with, that you state that you only give three major changes per project and after that you charge by the hour. This is to not like a threat but slightly go slight threat so that make them work a little bit more diligently with you or think a little bit harder about their changes and be more consequent when they're making decisions, so they're not like all over the place. Which can be very irritating when you're working on something. Especially if you have to start over from beginning or make huge changes that take a lot of your time, or waste your time. That's really important. But I think it's important also even though that they signed a contract, they may be that didn't really click. So when you are sending in another sketch, make sure to tell them. Prompt down that at this stage it's really easy to make changes, so please do so at this time before I move on to the final illustration and that prompts them to be like, this looks really great. Can you just move this and this. Then usually, I would say, the least they convince I work with really good about being decisive and not being too wishy-washy. After that, you get then the approval of your final sketch so then you can move on to the final artwork. However, that is that you create it, I create mine digitally on the iPad nowadays, I will then do all the final ink lines and then color it in. Then once that final illustration is complete, I send that off to then may be ask for color changes anything like that. Any small changes that I can move. Something around but maybe not full on changes and color changes are usually pretty easy to change. That's something that we can work on or I even sometimes send off two color versions just so that they have choices, or if I couldn't choose myself, that's another option that you can do. Then they finally say that they are in love with it and it's perfect. You're all done pretty much, you just have to go back into your file, maybe save it in a new document that you don't have it, so it's not messy. You have it in the correct format to size that they've been asking for, all the colors are there. Maybe there's certain colors that they wanted you to input from Pantone or something like that. Make sure that, that document super clean and nice, and send that over. Usually it's too big, to just send over email, so I usually use WeTransfer something like that. I will email the client saying that I am transferring the final file. Then you're done and you say, send a nice, beautiful thank you for working with me on this project. I really enjoyed it, all that stuff like that, and say that you hope to work with them in the future. Hopefully they will want to work with you again too. Depending on what you had stated in your contracts, sometimes I don't send the final artwork until I've been paid. That's usually with smaller businesses, but with larger businesses, I state that they have to pay me within 30 days, and I send the artwork as soon as it's done before the deadline. Deadlines are very important to hold and follow. I always make sure to, if I can, have the artwork done before the deadline, at least like one or two days just because I also find the clients sometimes they're really good at stating a deadline, but they're not good at holding it themselves. Maybe if you're looking for feedback, they can take five days to get back to you, and that's five days that they've taken away from the deadline from you. That's the things that can be annoying when working with clients. But It's okay to send a follow-up email as long you're not hounding them or being too pushy, because you want it to be a pleasant experience working with you. I also think it's quite fun to get a little bit personal in your emails, to have a very happy tone. You can even say something like, "How are you," at the beginning of your statements or if it's been over the weekend, you can say something like, "Oh, you had a really great weekend doing this and this now you're super pumped to get back into work, working on the project," just something like that and hope that they've had a great weekend too. Just so you start making a relationship with them, so that to after a while you'll get to know each other a little bit more. They'll think of you when they have future projects, and that's always good. Yeah, let's see entire process from first email to last thank you email, and how it usually goes down. I would say for the most part, it is super streamlined and I had so many amazing clients that just right away they signed my little contract, no problem. They pay me exactly what I want to be paid and they pay in a timely manner, which is incredible. They also like the work that I create for them and have very minimal changes that they like to be made. That's usually just it works so streamlined and perfect, and I'm almost amazed when I create projects like that for those dream clients. This is my job it seems so easy. But then of course there other times when you have nightmare clients or it's just not working, you don't click with a certain person via email. Sometimes it can be very difficult to understand the tone also can be difficult when, a language barrier can be difficult if you're not really understanding each other. That has been a problem for me before, or if you have problems with people not signing the contract or getting back to you with feedback. You have to constantly email them for follow-up and feedback. It can be a drag, or you can have people that constantly make changes and can't make up their mind, but I think you just have to take it easy obviously. Always keep your emails professional to the point and not sound too harsh. Try to be friendly in your tone, but also don't be a pushover. It's a very fine line there, it's something that you have to learn yourself, what feels comfortable for you when you're emailing people. I'm very afraid of conflict, so I would say that I'm not the best at this. Thankfully, I haven't had any real trouble with fighting for payments and stuff like that. But, I have had a couple issues, I can't say. But I think as long as you set yourself up in the beginning with knowing the project description right off the bat so you know exactly what you're getting into. That you try to get as much information from them, what they're looking for, what style inspiration. Ask tons of questions about, what style they like from you, your work or others? Like as many specifics as possible that you can get from them. Because for the most part, I know that clients, they have something in mind even when they say that they don't. Just have to pull it out from them somehow via your artwork. Yeah, here's hoping that all your clients are going to be dream clients and super easy to work with and always pay you on time and sign your contract without any questions asks, wouldn't that be great? In the next section, I thought that we could look over the two briefs that I have included or created for this class together. 7. Briefs Overview: To give you a better idea of what a brief can look like, the kind of briefs that there are out there. I thought I would go over the two that I created for this class in the class projects with you. Let's jump into my computer, and I will go over all the details with you. Let's take a look at the briefs that I created, and you can choose to create a project for one or both. It's totally up to you, or just read it through for even more inspiration, and to get an idea of what an ideal brief would look like. I've got this little brief project Botanical Flora Reverie, just to prove and to get real theme. The first step would be that you would get an e-mail from the company, and here is my mock e-mail. It says, "Hello amazing artists. I'm Kristina, the Art Director of Blah Blah Blah Magazine. I saw your work on Instagram and I think your style would be great for an editorial we're working on for the Spring issue about urban gardening. We're looking for a full page illustration with elements that we can use throughout the feature and over $600 budget to work on this project in a deadline of two weeks. Please let me know if this is something you'd be interested in and I'll send over the full brief. We love your work. Looking forward to hearing from you. Kristina." This is actually a brief that I based off of something that I received in real life, and this is super ideal because they completely map out what it is, what they're looking for, maybe not details completely, but you get an idea of what they're looking for. Plus it's really nice that they would come up with a nice, generous budget for you and tell you that you have a nice deadline of two weeks. This does not always happen. I would say more often than not, they would ask you for your prices instead and wouldn't state the deadline. This is of course an ideal situation then I created for you. It's not less messy, so this is nice. Then you can read through the rest of what I have written here as a little bit more like to run through what I've stated in the other videos in this class. But here, you get your contract signed and then it's time to start designing once that's all set up. I'd also like to say that for the most part, these types of editorial illustrations, they never come with a full line design brief, or usually just gets done through e-mail and they'll attach some inspiration photo maybe here and there. I think that's the majority of the time what happens, which is cool, that works totally fine. But this is just way more fun. Here you can see my mood-board that I created for this project, and you can refer to this to get some inspiration and stuff, I thought. Let's look closer at the brief here with this magazine editorial, and I'll read the description arrow. "We are looking for a fresh and contemporary illustration to accompany our Spring issue's main feature about urban gardening. This feature covers the new hot trend of city dwellers using small outdoor spaces such as balconies, roof terraces, and window sills to grow their own herbs, fruits, and veggies. We love the look of vintage botanical drawings, but it would be great if you could give it a twist by incorporating modern city living in some way. Again, we are looking for a full page main illustration with 2-3 elements that we can use throughout the feature. We love your work, and can't wait to see what you come up with for this theme". Yeah, just using that single description and the mood-board, you should be starting to get some ideas that pop into your head of that looks like to you. You can do some research about urban gardening and how people are doing that in creative ways. That could also spark some ideas when you start illustrating and stuff like that, and then you would start making sketches that you would then send on to the client and work on that. But since you're not actually working on a client, you can feel free to just go in the direction that you feel is fun. I would also, if you would like, I'd be happy to help you if you would like direction. If you would like to send me sketches for some ideas that you had, I would love to play the client for you a little bit and then give you some direction if you'd like, feel free. Here I've also written a few notes of how I'm thinking and stuff like that, so you can read through that to get some more ideas. The color palette is a grungy vintage look with pops of brights. Please take a look at the attached mood-board to get a feel for the look we're going for. They haven't specifically said a certain color palette, but they've given you the groundwork for coming up with the color palette. Also allows you to play with that a little bit more and you can put in your own pops of colors that you feel would fit good and make it your own and do a little twist to what they're saying. Also, I wouldn't be afraid of doing something that's more you, or changing the brief a little bit in some way. Maybe not drastically, just to show them how you're thinking and they might love it or they might be like, "No, just do what we want." But you could test it out since you're the artist. Then the final delivery specifications are one high res minimum, 300 dpi JPEG file for the main illustration, and 2-3 high res minimum 300 dpi JPEG files for the secondary element illustrations. What I'm thinking for those are either things that you can pull from the overall illustration that you created, like a plant part that can then be used on a different page. You had to make sure that that is separated out, or you can draw it like a simple icons or something that's separate from the main illustration, it's up to you. Then the illustration should be in portrait orientation. That's just so you know like a magazine is in portrait so they would take up the entire page. Just do think about formatting when you're looking up or when you're starting the sketching process. Maybe you can use a regular letter size as the magazine format, it's usually around that size. Yeah, that is project one, brief one. That should give you pretty good idea. This is the kind of project that I have worked on the most, I'd say, for blogs, websites, magazines, companies that they need just a simple illustration for a social media, et cetera. They're usually pretty quick turnaround. I usually say around two weeks, but maybe it'd be more like one week and sometimes you can even get a project and they need it like in a couple of days so you never know. Now we can move on to project two and that is for a stationary suite. In my mock e-mail I wrote, "Hello, amazing artist. I'm Kristina, the art director of Blah, Blah Blah, Stationery Co. I saw your work on Instagram, and I think your style would be great for our new stationary suite. We're working on for our Spring release. We are looking for a repeat pattern with a botanical flora theme, and have $1,000 budget to work on this project, and a deadline of two weeks." It's quite similar to the other one except for this time, I'm asking for a set of a placement illustration. I'm asking for a repeat pattern. Again, you can read through more of my tips and tricks here that I've talked about. Yeah. Let's look at the brief, and here's the mood-board I created for this project. The project description is, "We're looking for a fresh and contemporary repeatable pattern to adorn our Spring line of stationery products, including notebooks, file folders, stationery paper, gift bags, and wrapping paper. We love the look of vintage botanical drawings, but it would be great if you could give it a fresh new twist. Again, we're looking for one repeatable patterns swatch that we can use throughout this Spring's stationary line" This one, I thought it'd be fun to actually give you a color palette to use, and here I've listed the hex codes for you. You can feel free to use those as a nasal parameter. Here, when I created this project brief, I hadn't received specific color palette, but since then I have several times and so it does happen. But I would say it's not that common. Usually they let you come up with your own color palettes. Since starting to work with an agent, I get these kinds of briefs all the time. We could receive design briefs from companies several times a week and they are quite detailed like this. You'll get a mood-board with images, what they're looking for, you'll even maybe get some color inspiration. Some of them are really well done with insane trend information, so they're really exciting to receive and design from. It's always inspiring, I feel, to get that much inspiration and to really know what a company is looking for. I think it's easier to design that way. Then the final delivery specifications for this project would be one editable AI file or high res editable PSD file. This gives you the flexibility of working in either Illustrator or Procreate or Photoshop, something like that. Then I gave it the repeat titles should be four inches wide just to give you another parameters so that you can practice creating a title to specific size et cetera. That is project two, and I hope that you found one of these inspiring or both of them. I think they would be a great addition to your portfolio that you can show to future clients. I think it's great to show that you are comfortable doing editorial work and then that you also can do product based work that would be good for products like stationery, greeting cards, and stuff like that. It's nice to have a few different examples of things that you can work on. Yeah, I hope that you create a project for one or both of these briefs, and that you share it with the class. 8. Thanks for watching!: Thanks so much for taking my class. I hope that this class has inspired you and has given you the tools and the knowledge that will make you feel more confident going forward working on client projects. I also can't wait to see what you do for my briefs that I included in the class. Please make sure to create a project for one or both of the briefs and share it in the project gallery. If you're interested, I'd be happy to give you feedback as if I were the client, I can come with arbitrary changes and stuff like that. Nothing too serious, but just to give you an idea of what it can look like if a client were to get back to you with changes and stuff like that if you would think that's helpful. Otherwise, I will see you in internet land. You can keep up to date with me on Instagram. That's a great place. I'm there @emmakisstina. I also have some free video content on YouTube. Otherwise, make sure to follow me here on sketches you don't miss on my future classes. Bye