From brief to handoff

This page describes how a single commission moves through the studio without surprises. It is written for editors, producers, and in-house designers who need clear rounds, named files, and honest timing. If you only need finished samples first, start on the Portfolio page, then return here when you are ready to talk schedule.

1. Lock the story beat
The first exchange should name the audience, size, print or screen, deadline, and the one feeling the image must carry. A short line list beats a ten-page brief. If copy is still moving, say which lines are frozen so layout does not drift under the art.

2. Thumbnail round
Two or three small comps show composition before detail. Pick a direction, or merge two with plain language notes. This is the cheapest moment to change camera angle or negative space, so mark what must stay literal versus what can bend for mood.

3. Drawing and local colour
Line and flat colour come next, still sized to the final trim or pixel width. Brand palettes or house CMYK builds should arrive now, not after texture. If the piece will animate later, say it early so layers stay grouped for motion tests on the Animated illustration page.

4. Finish and proof
Final lighting, texture, and small props sit on their own layers. A low-res colour proof goes to the client before the full native file ships. Spellings on signage and numbers on jerseys get a second pass here because they are painful to fix after print.

5. Delivery package
Typical outputs include a layered PSD or TIFF, a merged CMYK PDF for press, and RGB PNG or JPEG for web. Folder names use project code, date, and version. If you need a written rights summary, ask through Contact so it matches the invoice line.

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