Customer Reviews

Graphic Artists Guild Handbook: Pricing & Ethical Guidelines

5 star:		(9)
4 star:		(0)
3 star:		(3)
2 star:		(2)
1 star:		(1)

 

 

The Copyright, Legal, and Professional Issues and information, and Trade Customs in this book are an invaluable and comprehensive resource for freelancers, art buyers, and business managers--a real bible. I gave the previous edition of this book a 4 star rating for those reasons and continue to give that large portion of the book the same rating. The Pricing charts for freelance illustration however, need a strong ALERT. If one quotes the fees in these charts or budgets these figures with no adjustments, the fees in these charts will remain the same, year after year, ad infiniteum because the same figures will continue to be reported. In comparing figures from previous editions, many of these figures in these have remained exactly the same or even gone down for at least a decade. THE FEES WERE HIGHER IN 1991, TEN YEARS AGO Even in places where they have gone up, and if one considers inflationary adjustments, the scenario is even more negative. From 1991-2001, the inflationary adjustment based on the Bureau of Labor Statistics' Consumer Price Index is 31%. To compare, if the price for the front cover of a paperback trade book, major distribution is suggested in the1991 edition to be $3000, and in the 2001 edition the range of fees reported is $1500- $3000, something is wrong. That inflation adjusted fee of $3000 in 1991 would be almost $4000 today. The scenario is no better in other areas like advertising, corporate, and magazine editiorial. If a freelancer does 2 dozen jobs like this a year, at the stagnated fee, if would mean a $24,000 loss of income compared to 1991. That loss is even higher when you factor in capital expenditures in technology-computers, printers, scanners, websites--which didn't exist before. I am not saying that this book is to blame for declining or stagnating prices. the reasons for that are many and complicated: wild discounting by stock houses, and increased competition caused by easy access to national/international markets, increased pressure on copyright usage caused by globalization, electronic uses and corporate conglomerates, to name a few. But freelancers using the reported fees in this book for quoting and accepting fees won't even maintain the status quo ad infiniteum, to the delight of client business mangagers.

I found that the prices given in this book were way off for my demographic and line of work. With the knowledge of bidding my own freelance jobs and hiring designers for the firm that I work for that the pay scales in this book are way out of wack. I'm not saying that they are all over priced like other readers might assume. I found that many estimates to be quite low.

You run the risk of losing a job because your bidding estimate is to high in some instances and in other given estimates you are going to lose a lot of money. The given freelance hourly rate for an Art Director is $55.00. That is way under what the market pays in the area and industry that I work in.

You will also find pricing like this: National advertising campaign (Print Media) between $11,000-$25,000. There are no specific variables given to this enormous disparity in pricing.

There is a heap of useful information in this book, but pricing isn't one of them. In fact it's bloody useless.

I find the book very useful for many purposes, and it was right on the mark when it came out four years ago. However, considering how quickly technology and the internet change, I think it's time for a new edition; a lot of the "digital design" information is woefully out of date. For instance, under "Questions to ask when designing a web site," the book asks, "Does the client understand the difference between the Web and an online e-mail service such as American (cq) Online?"

In addition, pricing is based on "screens" or "pages" for web sites. The overall rates in the book seem to be realistic, but it would be helpful to know exactly how projects are priced. In the rapidly evolving world of database-driven and fully animated sites, "pages" don't mean much anymore. This is a fine reference, but don't expect it to keep you on the cutting-edge of technology. Go into a client's office and talk about "American Online" and I can almost guarantee you won't get the job!

Like most college design students, and recent graduates, the way you financially support yourself while waiting for that great fuul-time job, is by picking up freelance jobs. As I found shortly after graduation, I had absolutely no idea what I should have been charging, and I was being vastly taken advantage of. This book will tell you EXACTLY what you should be charging, for every possible job. It is not only for newcomers to the field. Every designer and artist I know, agrees that this book is a must to have on your shelf, and reference often.

If your going to Fairleigh Dickinson University you will need this book if your taking Digital Design and Graphics Price is GOOD

Contains everything you need to know about arts business. Essential for graphic designers and illustrators. If you are considering freelancing or starting your own firm or studio, you must get this book! For years to come this will be your ethics reference. Excellent resource.

I am shocked that this book has gotten some negative reviews. I keep this book on my desktop and refer to it everytime I customize a project contract. I recommend that all of my clients buy this book so they understand design pricing and contract terms. It is the best book on the subject I have come accross. While some people have stated that the rates in this book are off, I have to wonder if perhpas their skills don't quite measure up. Your experience, your skills and your portfolio determine what you can realistically charge a client.... if you can't get a job charging the rates in this book, it's not the book's fault. Go back to school, build your portfolio, get more experience. For a true professional designer, this book is a must have referrence guide.

...I would be making a better living. There are some good ideas about negotiating contracts, about rights that artists have, and legal mumbo jumbo you can throw at people. In the real world, though, I've found that it is near impossible to retain these rights when signing standard pre-fab contracts with clients. The pricing guidelines seem high compared to what I'm seeing currently. This book is ok as a rough guide.

Whether you're a one-person design firm, part of a small staff firm, or a corporate in-house designer, you will need this book. Anyone who is seriously considering making a career of design should get the Guide as well. This book provides invaluable advice on the design process, dealing with clients, graphical standards, sample contracts, sample costing sheets, and a listing of invaluable reference and resources in the back. The biggest strength the Guide has is detailed explainations of different areas of design. How many times have you gone into a meeting with a new client and had to differentiate between the many specialization in design for your prospect? Just about everything is covered...illustration, print graphics, web design, fabric design, video, audio...with sufficiently detailed information to help keep you on track. Many's the time I have actually quoted from the copyright and contracts section of this book when clients got balky on payment or terms. Anybody who is freelancing, starting out, or working in a small firm owes themselves the favor of getting this book.

Don't even think twice. Buy this book. It is essential to anyone involved in the graphic design business. You need these four items to start your business:

1) talent
2) computer
3) software
4) GAG Handbook