TRADE/TRADE T T

05 16 2009 0197865311
2501 Stevens Ave S.
Minneapolis, MN 55434

IN THE EXCHANGE OF SERVICES OR GOODS,

THIS DOCUMENT BINDS A TRADE OF

TO THE ORDER OF:

TRADE/TRADE T T

2501 Stevens Ave S.

Minneapolis, MN 55434
05 16 2009 0197865311

IN THE EXCHANGE OF SERVICES OR GOODS,

THIS DOCUMENT BINDS A TRADE OF

TO THE ORDER OF:

TRADE/TRADE EXHIBIT

This trade exchange will be conducted in accordance to the specifications

of what is included in this official contract. Both parties have made an
agreement through Dialogue, Diagram, and Document. Further negotiations
are plausible and will be recorded on to contract as necessary.

In this trade agreement, will trade

his/her in exchange for .

This trade will be conducted through the dates of — and the

exchange of materials will be made . The use of the work
is .

Persons making this trade agreement should thoroughly discuss and understand each other with the means of both
verbal and visual communication. The terms of this contract are approved by the following signatures:

SIGNATURE SIGNATURE

DATE DATE
TRADE/TRADE CONTRACT

This trade contract acts as both design proposal and invoice. The top portion may be removed and given to client or trade participant.
The bottom portion will outline terms of contract including dialogue, schedule, and a diagram. This diagram will show, in basic forms,
the visual aspect of the trade agreement. Fill this contract out thoroughly to prevent grievances, and most importantly, to better under-
stand the trade between both parties.

There are varying degrees of formalities that can be included in the clauses. The most important aspect of the TRADE/TRADE contracts is
the variety of communication that is documented between designers and client. The instructions below provide a method to establishing a
process that creates a legal document. Both your design proposal and trade agreement are united in this TRADE/TRADE document that serves
as design brief and invoice.

At first glance, contracts may inspire dread, but they can make doing business much easier. When the basic concepts are understood, con-
tracts can protect both the artist and the client. And contracts can provide a common working language by which each job can proceed. With
a little time and patience, graphic artists can learn not only how to read their client’s contracts but also how to structure agreements
that best represent their own interests.

WHAT TO INCLUDE

The proposal includes many of the following factors: an overview of the client’s market: objectives and requirements, of the project;
research, art, and other components that will be developed of commissioned by the designer; typography, programming and other production
services; printing requirements; intended use of the printed piece; and a schedule. In addition, designer frequently prepare documents
explaining relationships with subcontractors (illustrators or photographers), billing procedures, and contract terms.

PART OF A DESIGN PROPOSAL:

Part 1: design & production process

Design and production can be divided into three phases. Some designers prefer to divide their process into five phases: orientation;
design development; design execution; prepress/production; and on press. Feel free to devise a system that is easiest and most
workable for you.

Phase 1: describes the design phase of the project, including what form the design presentation will take, how many version will be pre-
sented, the client approval process, and the time frame.

Phase 2: explains the production process, which occurs after client approval of the deign phase. Includes assigning illustration and/
or photography, copywriting, typesetting, proofreading, supervision of those components, print production time estimates, and client
approval schedules

Phase 3: final production: after client approval of the previous phases, final production begins. Depending on he end product(s) a design
firm has been commissioned to produce, this phase may be a matter of going on press and/or supervising the fabrication or manufacturing
of products within a prescribed schedule. If designers are involved with developing powerpoint presentation, web sites, and multimedia
presentation, programming them is part of this phase.

Part 2: fees
Fees and expenses may be handled in a number of ways. During the first phase, the design office may arrange to bill on a project basis. If
clients prefer to be billed on a project basis, they usually establish an acceptable cap on the total amount billed. The project is out-
lined in briefer form than for part 1, including the fees required for design, copywriting, photograph, illustration, and so on.

It is important to explain what these fees include (design, layout, type specification, preliminary proofreading, production and so on) and
more importantly what they do not include (out-of-pocket expenses, author’s alterations, overtime charges, photographic art direction,
long-distance travel, etc.). The latter expenses, including markups for account handling and supervision (typically 15 to 25 percent) ,
should be stated and estimates of charges should be included if possible.

When supplying production prices for printing, be sure to state that these estimates are based on rough specifications and are budget es-
timates only. More exact quotations can be furnished at the time the final design mechanicals or comprehensives are review by the prints.

Part 3: payments
Many design projects are quoted and billed by phase, with an initial fee representing 30 percent of the total estimated fee and reimburs-
able expenses. An outline of the payment schedule should be provided.

Another method of payment is a monthly breakdown of the fee in equal increments (often called a retainer). This method allows the designer
to predict income over a long project and discourages the client from attaching a value to each phase that may be misleading, since few
projects follow the phase development in a strictly sequential way.

Part 4: rights, usage, & credit

Discuss usage, ownership or rights and artwork, credit lines, approvals, interest charged for late payments, and any other terms (such
as sales tax, confidentiality, or termination) deemed necessary. For clarification of these items, see the standard contracts. Signature
lines for both client and designer and the date that the agreement is signed should follow. Both parties should retain a signed original.

THE AGREEMENT

Since designers work with a variety of graphic resources, it is important that all conditions and expectations be spelled out before the
work begins. The following points should be considered:

Payment: for larger projects, it is customary for a third of the payment to be made upon signing with agreement, a third upon approval of
design comps, and the final third with 30 days of delivery of digital files for production.

Most contracts include a section specifying how, when, where, and the duration for which the design will be used. The extent of use de-
termines which copyrights the client needs and may be a factor in establishing appropriate fees. Graphic designers are often entitled
to credit and copyright, unless another arrangement is negotiated. Designers often contract with freelance illustrators, designers, and
photographers for work on a limited-use basis for specific project. Unless specified otherwise in writing, it is assumed that the creator
owns the copyrights to the work, not the client or the designer. It is fairly common, therefore, for copyrights to be held by several dif-
ferent contributors to a project, who may all deserve the same acknowledgment and rights on the piece of group of pieces. In addition to
copyright concerns, al terms and conditions of working with independent artists should be clearly outlined in writing and reviewed prior
to the commission. These standard customs are detailed in a contract, letter of agreement, or confirmation-of-engagement form.

DEVELOPING A DESIGN PROPOSAL

Often when bidding on a project, graphic designers develop their own proposals. They use initial meetings and research to understand the
client’s objectives and conceptualize possible directions. They also determine the target audience, desired response, and the overall
effect to be achieved. Responsible clients communicate clearly at the beginning of a project limitations such as budget and deadlines and
all the elements they will provide, such as text, photographs, artwork, or charts.

It is important for both client and designer to discuss specific directions about what is being bid upon. Being specific ensures that both
parties will be able to avoid surprises in the scope and estimates of the project once the proposal is accepted.

Based on these initial discussions, designers, establish their fees, often taking a combination of factors into consideration, including
scope of services (what they will provide), project value, usage, market conditions, schedule, client budget (what can be accomplished for
the money allotted to the project), hours expended, and gut instinct. The value the client expects to derive form the work is an increas-
ingly important factor for example, a company desiring top talent to develop a new identity program may be willing to pay a substantially
higher fee than one calculated solely on expended time. Conversely, a designer may create a company greeting card for a long-term cli-
ent for a long-term client as a client accommodation for substantially less than the market rates. While it may help a designer to walk
through a project step-by-step calculating the time needed for every activity and multiplying that time by the appropriate rate(s), the
designer should view that information as material guideline and not discuss projected hours with the client. As a rule, a designer’s work
should be judged for its value, as are the services of an experienced consultant or advisor, rather than by the time expended, as is the
work of a vendor.

Once the designers assess all these variables, they write a design proposal that spells out the scope of the services, the client’s re-
sponsibilities and estimated fees, expenses, and schedules.