P R O J E C T M A N A G E M E N T D O C U M E N T

E X A M P L E SF R O M

B R I A N W H I T E H E A D & A S S O C I A T E S

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IN MY EXPERIENCE GOOD

CLIENTS CAN BE DIFFICULT

TO FIND. WITH LUCK &

HARD WORK THEY CAN

PROVIDE A GOOD SOURCE

OF INCOME OVER MANY

YEARS…

❝

❞

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Project Management (PM in a nutshell) discussion check list

1. What is PM and why is it useful?2. How do you do PM? – Work out a sensible practical system which works for you.3. Why? To protect yourself, your time, your intellectual property and your finances.4. Copyright: Who owns it and how does licensing work?5. Always be business like, positive, courteous and fair (it’s a small world in Design & Advertising).6. Clients do not like surprises in business matters (especially financial) – always keep them informed.7. Essentials in PM: a. Try to arrange a formal meeting for the briefing and do get a written brief if possible. b. Always respond in writing by outlining your understanding of the brief. c. Put together a written proposal which outlines how you plan to run the project: i. Break the project into achievable understandable tasks and stages. ii. Work out your human resources and outline how you plan to proceed. iii. Set out a schedule of works (usually working from deadline backwards). iv. Set out a schedule of meetings (often a minimum of three stages). v. Work out how you will charge (usually based on hourly rates). vi. Build in a profit margin (20%? can allow for eventualities and slippage). vii. Put forward a fee proposal ex-VAT (always Estimate and don’t Quote). viii. Your Estimate should usually contain your ‘Terms of business’. d. Fees proposed may require some negotiation and re-estimating to reach agreement. e. In advance try to outline unknown potential costs (i.e. Illustrations or photography). f. On being given the go-ahead by the client the following paperwork is advised: i. Request a Client Purchase Order (PO) and check the small print carefully. ii. Issue a Confirmation letter outlining the agreed fees and restating the first meeting briefing. iii. On receipt of a PO Issue Confirmation Order with your ‘Terms of Usage’. iv If Client PO arrives late re-issue new Confirmation Order with new date – vital!!! g. Proceed with ‘Stage One Designs’ with secure knowledge of contractual agreement. h. Keep accurate time-sheets which you must analyse daily or weekly to keep on budget. i. Clients notified of any purchases on the project and all receipts are kept and logged. j. Sub-contracting is done in writing (Purchase Orders clearing Usage to protect yourself.) k. Appropriate handling fees of 20% are charged for all purchases for the project. l. Client Presentation – careful notes and clarification on decisions made through a Contact Report. m. Send Contact Report to Client – designer to client as feedback after directly after meetings: i. To confirm that which was agreed in the meeting. ii. To outline what you will be doing as a result of the meeting. iii. Any variance from the agreed proposed project to be clearly outlined. iv. The fees now outstanding and any expenses which will follow. v. If there is any alteration to the brief – and how the fees will be affected. vi. Set next deadline for next presentation. n. Issue Stage One – part Invoice (it is best not to let fees build up to a large final bill). o. Proceed with ‘Stage Two Designs’ with secure contractual agreement. p. Repeat points ‘g, h, i, j, k, l, m and n’ with further staged invoicing until the project is completed. q. Keep a very accurate record of client amendments as opposed to your mistakes and chargeable times spent. r. Issue monthly Statement listing outstanding Invoice dates and fees to jog the Accts Dept = good cash flow. s. It is a good idea to try to secure first payment before releasing final work (not always possible?) – it can indicate that all is well – clients occasionally require post-mortems over deadlines, fees and amendments after they have the work in hand – so good record keeping and time-sheets can be most useful … Reasonable compromise only? t. Constantly check to see if you are on budget – or over budget – or on target?8. You are only ever as good as your last job – clients are valuable – so be totally professionally.9. Remember: Well kept client correspondence, properly negotiated, will be seen as professional practice.10. Always remember to be careful imparting difficult information and treat clients with care to reman professional.11. Enjoy being a good designer and it will show in the work you produce and will ultimately :be profitable.

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T I P I C A L P R O J E C T M A N A G E M E N T F L O W C H A R T

Client Contact...

Enquiry comes in: Would you like to work on a comission?

Yes!

1st client meeting presentation or submission of rough drawings

2nd client meeting presentation or submission of work in relatin to 1st meeting

3rd or final client meeting presentation and possible hand over of work - ???

Client feedback

Client feedback

Client Payment

When will you be free?

Next week Wednesday

Okay Thanks for asking but No! – Bye!

I could see if I can rearrange some deadlines?

Yes I can √

When do you need it and can you tell me what you require?

Details of brief given and specifically outlined = Good√

Brief discussed and emailed

Avoid giving 'ball park' figures before sittig down and working out estimated time at your hourly rate

Client recieves your estimate, schedule, costs and terms of business

Client either agrees or negotiates a reduced fee – hard negotiation usually spells issues – warning!!!

Sorry not unless you pick up and return – or lets meet face-to-face?

Art director wants to see your portfolio? = Not real?

No I cant – Bye!

Yes! No! – Bye!

Sorry we need it sooner

Unfortunately to busy at the moment – how urgent is the work neecded?

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Your possible Data Bases & Management System...

Address BookAddress Book

Job Book with Estimation

What-if-calculator

Estimates

Confirmation Order - 3 stages

Time-Shets well kept

INVOICE & Statement - Sales Ledger

Archive work for future reference and further potential work

Cellebrate with client if possible – epressing satisfaction and creative fulfulment

Publicise your work – but with permission of your client as confidentiality may be an issue

Keep in touch with good clients and ensure good and positive relations – clients are valuable.

INVOICE - for advanced payment as sign of good will

INVOICE - for staged work plus Contact Report on discussions

Final INVOICE for final work

Full and Final Fee Required as per Contract (Ramalpa Clause)

Make sure Invoices so far have been paid - or work stops

Stage One WORK on the project

Contact Report outlining discussions and action points

Stage Two WORK focused on options

Stage Three WORK final tweaks

Stage Four WORK = additional fees needing letter as outside initial Confirmation Order??

Yes√ NO!

Advice: Never work on the project before this stage

Name of principal payee, Company, address, telephone, email & URL to check bonafides if unknown.

Record estimated hours at rate, cost of services, materials and expenses all plus matk-up at 20%.

A calculator of time, materials and costs to put in an initial fee - subject to negotiation.

To contain your interpretation of the brief, a schedule, your estimated fee and your terms of business.

Name the principal (client to pay), outline brief details, the fee agreed, deadline, fee conditions, publication or usage, term (period of usage), particular usage or extended usage, terotory by country, any additional notes specific to the project — then you sign and date as a contractual agreement

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Below: Project Enquiry Sheet to quickly enter information while on the phone, and to take a quick guess at the cost

of an enquiry or to note a budget. These enquiries may not materialise so they need not be entered into the system in full.

Below: Project Enquiry Listing to see all the inquiries at a glance and to determine the To-Dos: estimating, scheduling, getting quotes, sub-contracting and putting together a

proposal. This may need a full face-to-face client briefing in advance of estimation and a Contact Report to confirm the brief with any queries that should arise.

Once you have a clear idea of the project brief, it's full requirements and you think the job is ready to be estimated you can make sure the client is given an account identity. You may want to do a credit check if you have never worked for them before. There are credit agencies and you could

check their annual returns through Companies House. An accountant can help you with these details but it can run up costs – better safe than sorry if it is a large scale project. After all you may be able to absorb this expense into the management costs.

Good practice in Project Management should ensure clear communications between you and your client. It should also protect both parties from misunderstanding. It should be simple, diplomatic and it should under-pin a potential long term working relationship – clients like to be impressed but not surprised.

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Below: Your business Address Book will contain all your client details for correspondence , telecommunications and emails. It should be driven by using a client number or alpha-numeric look-up to tie the details into projects and correspondence. You should also keep a recod of your agreed charging fee structure and hourly rates along with your client details to ensure you charge accordingly. After all you could have

differing fee rate for different clients. i.e. Large companies, small local companies, charities or clients who negotiate special rates for regular work or retainers. You may want to have a separate entry for different individuals in the same company – so make sure your rates are consistent. Do avoid making mistakes in charging (a little mistake in charging could loose you your client).

Below: Address Book Listing is a way of viewing all your addresses and sorting them into Companies, Individuals, Clients, Suppliers and others in categories you may choose

to define i.e. Potential Clients, friends etc. These can be used for mail-merge letters and as a mechanism for cold calling potential clients for portfolio interviews.

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When the job to goes live (i.e. when the client agrees to your proposal) a Job Sheet is created – with a unique Job Number which is used to track the job through from beginning to end. A client look-up number should be attached to the Job Sheet to attach the client details to the job (i.e. address, contact name an charging rates). This will allow all sorts of correspondence to take place relating to this particular project. (i.e. Estimates, Letters, Proposals, Faxes, Confirmation Orders, Time Sheets, Purchase Orders, Invoices and Statements).

A Job Bag or Job Box is created (i.e. a large envelope, a plastic wallet or even custom made job boxes) to manage all the parts of the project. A copies of a Project Working Sheet or a Job Bag Sheet should be attached to the Job Bag (this could be a folder or ring binder and all the relevant documentation can be kept with the project for staged billing. In addition you may want to keep a Day Book or Daily Diary noting times and dates of all communications – these can often be referred to if problems or queries arise as issues which need to be resolved.

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When you have made allowance for your carefully thought through (what-if) estimated times for designing, mechanical artwork, travel, meetings and management into your Job Sheet, you can also enter your estimated costs for materials and all external supplier costs with appropriate mark-ups, so as to arrive at a final Estimated figure for the project. Please note that an Estimate is a best attempt to get a close approximation of the cost – unlike a Quotation which would

be a fixed figure and can be considered to be legally binding as a contract. Do not under any corcumstances be tied down to fixed fees for work which cannot be clearly defined in advance. Allow the design process to determine the next stage. You can then write an Estimate to your client which should carry your Terms of Business. i.e. how you will be charging, your mark-ups and possibly your fee structure if you are charging by the hour or by the day.

OPPOSITE PAGE:The full size printout opposite is an example which is laid out in FileMaker Pro Database and is designed to print onto a colour litho printed letterhead with the clients name positioned to appear in an A4-DL window envelope when folded into thirds.

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B R I A N W H I T E H E A D & A S S O C I A T E SStudio 1 Dickson House Queens Road Richmond Surrey TW10 6SP

Telephone 0181 255 8880 Fax 0181 255 8881

Jill Jamieson TO

Surrey Institute of Art & DesignAshley RoadEpsomSurreyKT18 5BE

25 October 2002 ESTIMATE DATE

1087CONFIRMATION ORDER

PURCHASE ORDER Nº

4001JOB Nº

Test Demo - To design & Produce a Catalogue 2002/3PROJECT DETAILS

Designs will include Front cover and five sample spreads.

E S T I M A T E•

£ 5576.00ESTIMATED COST

FEE CONDITIONS

C H A R G I N G P R O C E D U R E SWE HAVE PLEASURE IN SENDING YOU THEFOLLOWING ESTIMATE WHICH IS SUBJECT TO OURSTANDARD CHARGING PROCEDURES OPPOSITE

Amendments, rush charges, materials, outside services,telecommunications, faxes, travel, transport & deliveries

EXPENSES CHARGEABLE

25/10/2002DELIVERY DATE

First useTERM

Cataloge 2002/3 as ber briefUSE

UK rights exclusiveTERRITORY

NOTE

To include Design layout, Mechanical Artwork and one set of Ammends

Please note that our rates are subject toalteration without notice.1. Brian Whitehead maintains a policy, as adesign consultant, of giving estimates in advancewherever possible, for individual projects basedon hourly or day rates, depending on the type ofactivities undertaken, plus any costs incurred.These activities are:a. Creative executive services —art direction; graphic design; copywriting;advertisement design; concept work; research;computer-aided design; typography; specifyingprint mark-ups; illustrating; technical drawings;made-up dummies; made-up models; packagingdesign; exhibition stand and exhibition graphicdesign; general design consultancy.b. Meeting and management services —meetings; administration; project management;also non-standard travel time.c. Studio and mechanical artwork services —Mechanical artwork, paste-up and keyline.2. It is important to note that these rates apply towork produced during normal working hours andthat any work contracted on rush and particularlyduring unsocial hours will be chargeable atdouble the normal rate.3. We will estimate costs in advance and onlygive firm quotations on projects where we canclearly define the exact parameters of the work tobe undertaken. This will often occur only when theinitial design concepts have been agreed.4. It is most important to state that we regardmeeting time on projects as consultancy andtherefore chargeable.5. We will be willing to buy services on behalfof clients on the clear understanding that amark-up of either 17.65%, or 20% dependent ontime involvement, will be placed on these costsand that a 50% mark-up will be placed on printbuying. These mark-ups will be applied in allcases unless the client is willing to put us in fundsprior to dispatch of our official purchase order.6. We are willing to work either on a retained oran ad hoc basis and our terms and conditions willbe supplied on our confirmation order which issent out as a matter of course on all contracts,where we will clearly indicate our fees oncommencement.7. Billing will occur on projects with one thirdupon commencement, one third at the half-waystage and one third upon completion.8. Our terms are strictly 28 days from the dateof invoice.

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CHARGING PROCEDURES

Please note that our rates are subject to alteration without notice.

1. Brian Whitehead & Associates maintains a policy, as a design consultant, of giving estimates in advance wherever possible, for individual projects based on hourly or day rates, depending on the type of activities undertaken, plus any costs incurred.

These activities are:

a. Creative executive services — art direction; graphic design; copywriting; advertisement design; concept work; research; computer-aided design; typography; specifying print mark-ups; illustrating; technical drawings; made-up dummies; made-up models; packaging design; exhibition stand and exhibition graphic design; general design consultancy.

b. Meeting and management services — meetings; administration; project management; also non-standard travel time.

c. Studio and mechanical artwork services — Mechanical artwork, paste-up and keyline.

2. It is important to note that these rates apply to work produced during normal working hours and that any work contracted on rush and particularly during unsocial hours will be chargeable at double the normal rate.

3. We will estimate costs in advance and only give firm quotations on projects where we can clearly define the exact parameters of the work to be undertaken. This will often occur only when the initial design concepts have been agreed.

4. It is most important to state that we regard meeting time on projects as consultancy and therefore chargeable.

5. We will be willing to buy services on behalf of clients on the clear understanding that a mark-up of either 17.65%, or 20% dependent on time involvement, will be placed on these costs and that a 50% mark-up will be placed on print buying. These mark-ups will be applied in all cases unless the client is willing to advance us funds prior to dispatch of our official purchase order.

6. We are willing to work either on a retained or an ad hoc basis and our terms and conditions will be supplied on our Confirmation Order which is sent out as a matter of course on all contracts. We will clearly indicate our fees on commencement on the Confirmation Order.

7. Billing will occur on projects with one third upon commencement, one third at the half-way stage and one third upon completion. Alternatively, staged payments will occur through the development of the project at initially agreed development stages of the work undertaken.

8. Our terms are strictly 28 days from the date of invoice.

T E R M S & C O N D I T I O N S

1. Unless a rejection fee has been agreed in advance, there is no right to reject on the basis of style or composition.

2. Title to all concepts, visuals, roughs, designs, transparencies, illustrations, artwork and other materials to remain the property of Brian Whitehead (the designer) and may only be used when all payments have been received.

3. The original artwork is distinct and different to the reproduction rights of that artwork and all original artwork remains the property of the artists/designers unless otherwise agreed in writing. Any original artwork in the possession of the commissioner may be held to be copied or used in accordance with its agreed use and must be returned within a reasonable time after that use. If artwork remains unreturned an additional fee will be charged.

4. Where artwork has been commissioned, the parties agree that the copyright is retained by the designer and no reproduction rights are granted unless and until all sums due pursuant to this agreement have been paid.

5. Interest shall accrue at 2% per month on outstanding sums due from 30 days after invoice date.

6. It is understood that the designers’ fee is an estimate and accordingly they reserve the right to charge for all work done if the work commissioned takes longer than the time originally anticipated at the date of the estimate, for reasons beyond the control of the designers, or by reason of a change or amended brief or art direction.

7. A booking is considered firm as from the date of this letter and, accordingly, the designer reserves the right to charge a minimum of 50% cancellation fee plus expenses or a larger cancellation fee if the designer has spent time and money in preparation for the brief.

8. This agreement is governed by the laws of England and is not to be varied except by agreement in writing.

9. These terms and conditions shall be effective in relation to all dealings between the client and the designer.

The copy below: should be used to outline your 'Terms of Business' at the estimating and proposal stage of a project – either on a proforma Estimate or in a letter.

This sort of legal text is usually referred to as ‘the small print’ which you should always read and understand fully before you signing. Be extra careful if you are told, “it’s nothing to worry about – just sign it!”. If it is not worth worrying about it is not worth signing. Remember the entire legal system is held together by signatures – they are binding and you will not be let off for fear of a legal precedent – there-by causing the collapse of the entire legal system.

The 'Terms and Conditions' of usage below should be attached to your letter – or proforma Confirmation Order – confirming you acknowledge the clients go-ahead, having approved you Estimate, or having negotiated a mutually acceptable fee.

Clients usually provide a Purchase Order with their terms and conditions of purchase – if you send your Confirmation Order after receiving your clients Purchase Order, the last dated correspondence usually determines the legal position concerning copyright and/or license agreement for usage. It is diplomatically wise to outline ownership of copyright to avoid misapprehensions and disputes at a later stage. In legal disputes you usually loose clients and money to lawyers.

Try to be firm but polite and business like in your dealings – if your client insists on having the copyright you are at liberty to re-negotiate and appropriately high fee – arguably around 750% which usually focuses the mind on just how much usage is really needed.

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The Confirmation Order (which is in effect a signed Quotation ) should carry the following:• yourJobNumbersoyoucantieitinwithyourclients

company and your estimate, time sheet and Invoice• yourclientsPurchaseOrdernumberanddate• yourconfirmationdatefromwhichpointyouwillbe

charging for all work done• detailsoftheprojectrequiredoutliningyourproposal• theparametersoftheworktobedoneandwhereyou

limit how much work will be done for the fee agreed

• anyadditionalchargesand particularly:• thespecificusesofthework(thelimitstotheusage)• thetimeperiodoftheusage(i.e.firstuseforoneyear)• theterritoryofusage(usuallylocationbycountry)these details will affect how much you charge• finallyanyextrapoints,procedures,meetingsand

deadlines.

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B R I A N W H I T E H E A D & A S S O C I A T E SStudio 1 Dickson House Queens Road Richmond Surrey TW10 6SP

Telephone 0181 255 8880 Fax 0181 255 8881

Jill Jamieson TO

SURREY INSTITUTE OF ART & DESIGNAshley Road

EpsomSurreyKT18 5BE

25 October 2002 CONFIRMATION DATE

1153CONFIRMATION ORDER

PURCHASE ORDER Nº

4001JOB Nº

Test Demo - To design & Produce a Catalogue 2002/3PROJECT DETAILS

Designs will include Front cover and five sample spreads.

CONFIRMATION ORDER

•

£ 5576.00ESTIMATED COST

£ 5500.00FEE

TERMS & CONDITIONSTHIS IS TO CONFIRM THAT WE SHALL PREPARE THE DESIGN & ARTWORKDESCRIBED IN THE SCHEDULE BELOW, FOR THE USE AND OTHER TERMS ASSHOWN BELOW. WE WOULD LIKE TO DRAW YOUR ATTENTION TO OURSTANDARD TERMS AND CONDITIONS SHOWN OPPOSITE.

1. Unless a rejection fee has been agreed inadvance, there is no right to reject on thebasis of style/composition.2. Title to all concepts, visuals, roughs,designs, transparencies, illustrations,artwork and other materials to remain theproperty of Brian Whitehead (the designer)until all payments have been received.3. The original artwork is distinct anddifferent to the reproduction rights of thatartwork and all original artwork remainsthe property of the artist/designer unlessotherwise agreed in writing.Any original artwork in the possession of thecommissioner may be held to be copied orused in accordance with its agreed use andmust be returned within a reasonable timeafter that use.4. Where artwork has been commissioned,the parties agree that the copyright isretained by the designer and noreproduction rights are granted unless anduntil all sums due pursuant to thisagreement have been paid.5. Interest shall accrue at 2% per month onoutstanding sums due from 30 days afterinvoice date.6. It is understood that the designers’ fee isan estimate and accordingly they reserve theright to charge for all work done if the workcommissioned takes longer than the timeoriginally anticipated at the date of theestimate, for reasons beyond the control ofthe designers, or by reason of a change oramended brief or art direction.7. A booking is considered firm as from thedate of this letter and, accordingly, thedesigner reserves the right to charge aminimum of 50% cancellation fee plusexpenses or a larger cancellation fee if thedesigner has spent time and money inpreparation for the brief.8. This agreement is governed by the laws ofEngland and is not to be varied except byagreement in writing.9. These terms and conditions shall beeffective in relation to all dealings betweenthe client and the designer.

Amendments, rush charges, materials, outside services,telecommunications, faxes, travel, transport & deliveries

EXPENSES CHARGEABLE

DELIVERY DATE

First use – for one yearTERM

Catalogue as per briefUSE

UK rights exclusivelyTERRITORY

NOTE

SIGNED

DESIGN CONSULTANCY AGREEMENT

Fri, 25 Oct, 2002

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Once the project is under way you should keep accurate time sheets. Either a time sheet for each project or a weekly time sheet which allocates your time to different job numbers.The example below is a single project sheet which shows how the hours spent are added together at rates A or B as a guide.You could set up a time sheet to multiply different tasks

against different hourly rates. i.e. Meetings at A, Creative at A, Mechanical artwork at B and Management at B rates.It may also be appropriate if you are working as a team to have individual time sheets to check how much you have earned for the project. The team may then have a Project or Job Sheet onto which all the different individual times are added creating a charging profile for Invoicing.

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Invoicing is both the best part of the project and it can also be the worst.

The best because if you are invoicing you are earning and we all like to be able to pay our way and have extra disposable income. Is this not true? It is even better when you know the earnings are safely in the bank.

Invoicing can also be full of problems. People often love to have credit given to them, but often resent paying off credit taken. Many a good honest business has gone bankrupt by giving to much credit and being able to secure payment. As a designer you are really selling your time – but with your time comes your expertise. Sometimes you are able to sell a design for a good fixed fee. Sometimes you can sell second rights (particularly on illustrations and photography), but usually you estimate your worth against the sellable time you have over a working year projected against your expenses and a proposed ideal annual income.

Invoicing should be supported by good comprehensive Project Management records. Do not surprise your clients with a large invoices without letting them know how you are spending their money. You need to enter into correspondence over all your projected plans and over all the actual processes and decisions made throughout a project. Keep an accurate diary recording times and conversations. Keep accurate and honest time sheets.

Invoicing should ideally be staged to break a large project into smaller amounts which need to be paid by specific

deadlines. In other words you don’t proceed with the project. or hand over final artwork or finished projects untill at least two thirds of the fee is paid – in an ideal world.

Be tough but polite in pursuing payment. Don’t allow excessive credit tempting clients to take advantage of your good nature.

Only ever enter into litigation as a last line of defence. If you have to do so, you will need to invoke your terms and conditions, backed up with all your carefully kept paper work, which you ought to have created and put it in place.

Remember once you reach the stage of litigation, you will usually have passed a point of no return – so you need to recognise that you will need new clients. Try to be reasonable and if you write to complain head the letter with:

WITHOUT PREJUDICE ... this is legal jargon for : I am going to use the law and I am making you a final offer in this letter ... but you cannot use this letter in court without my permission. Judges and lawyers understand this convention and it sometimes allows settlement before the lawyers start consuming your hard earned income.

However, the majority of clients are good decent people and if you do a good job and behave professionally, you could have clients that can last a life time and allow you to build a great career in graphic design – and they will surely pay your invoices as-a matter of good business practice.

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After Invoicing for work you should send out a Statement – this is a list of outstanding Invoices listed by giving the Invoice number, the Invoice date and the amount. Most companies have an accounts department where the rule tends to be that Invoices are not paid unless a Statement has been raised. The also tend to refuse to pay an Invoice if there is no Purchase Order number and date quitted on the Invoice. This is to prevent fraud when there are lots of different people

commissioning work. Once you have raised a statement three times you are in a position to become tough and you can refuse to progress a project or institute legal proceedings.But rather see the glass as half-full rather than half-empty. It is good business practice – and be careful that Project Management is kept in balance and does not get in the way of good design work.

TOTAL

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A

SIMILAR

PROJECT

MANAGEMENT

TRACKING

SYSTEM…

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IT TAKES

— A —

"SPRAT"

— TO —

CATCH

— A —

MACKEREL…

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The following are alternative set of layouts for you to consider:

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BAD PRACTICE!

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SCHEDULING USING A GANTT GHART

MONITORING

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BELL CURVE AGAINST DEADLINES

TIME

TIME QUALITY

£ COST

KEEPMOVING

OUTOF

YOURCOMFORT

ZONE

PRO

JEC

T P

ROG

RES

SFull Swing Immediate start is more likely

to meet the deadline

Deadline

5%

Penalties beyond

COMFORT ZONE

WHAT HAS TO GIVE?

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HOW MUCH SHOULD YOU CHARGE AT A MINIMUM?

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Freelande Rates:

Hourly RatesAverage £25Lowest £10Higest £40

Day RatesAverage £200Lowest £100Higest £500

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