How this one is meant to be worked through, in the author's own words:

1. Read Chapters 5 to 8 first, in order. They are the four rules and every later chapter refers back to them.
2. Then read Chapter 6 again before your next quote, because it is the rule that decides whether the job you priced is the job you will do.
3. SCOPE THE SET BEFORE QUOTING. List every destination one at a time - print, each platform and format, email, web, signage, and anything going into somebody else's template - and put the artwork count in the quote. This is the highest-return action in the book and it costs nothing but the discipline to ask.
4. STATE THE PRICE OF AN ADDITIONAL ARTWORK as a number, so a later request is a purchase rather than a favour.
5. QUOTE IN FOUR LINES: job fee covering intake and scoping and copy handling and proofing and preflight and delivery; origination priced as the expensive thing it is; adaptation per artwork at a visibly lower rate; and the additional-artwork price. A per-piece price prices origination and adaptation as one thing and the other two at zero.
6. COUNT ARTWORKS PER ORIGINATION HOUR, on every job, from the first one. It costs nothing to record and it is the only leading indicator this trade has.
7. GET THE PRINTER'S SPECIFICATION IN WRITING, from the printer rather than the client, before the document is set up - and record it with a date and the name of the person who gave it. A remembered specification becomes an argument after the run.
8. NEVER GUESS A BLEED, A RESOLUTION MINIMUM OR A COLOUR SPACE. A wrong document setup becomes a rejection or a rebuild, and neither is recoverable cheaply.

Written to be used rather than skimmed. Every financial figure is left blank on purpose, and anything touching law, tax, insurance or data protection is written as questions for a qualified professional rather than answers.

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