Why Won’t My Designer Give Me the Layered Master Photoshop Files…I Paid for Them Didn’t I?



Four Legitimate Reasons Why Your Designer May Not Want to Release a Layered Photoshop or Illustrator File…Plus One Illegitimate One.

I hear this a lot. Designers don’t want to give the layered masters to their clients. Clients rightfully feel a little miffed about not getting something that they assumed they had paid for.

There are many legitimate reasons why a friendly, helpful and knowledgable designer may suddenly get a little anxious when a client asks for the layered Photoshop or non-outlined layered Illustrator masters, but only one illegitimate one. Let’s review the legitimate reasons first and then wrap up with the illegitimate one.

1. It’s a Legitimate Business Decision Based Upon Agreed Upon Deliverables

For some this is a legitimate business decision. A client is paying for a finished print ready or web ready file. They are not paying for all of the active layers and the full history of the project. This is why a designer provides you with one finished design and not masters to every comp they created. You are only paying for one design. With access to the layered file a client could hire someone else to churn our endless variations from the raw data and the original designer, who put in all the work, will never see another penny. If a designer is using this formula then they will probably offer you the master for an additional buyout fee.

You can think of it this way. If you hired a songwriter to create a jingle or a writer to create a killer tag line, you are entitled to one finished mix of the song or one finalized tagline. You don’t get all the rough tracks and out-takes and you don’t get to have all the other taglines you passed on.

A master layered Photoshop or Illustrator file is similar as they often contain a history of all the available options.

For me personally, I tend to reserve the layered Photoshop file until there is a specific reason. They contain the entire history of the project and I don’t want some hack breaking it apart and creating junk, nor do I want my client to accidentally send the wrong file to the printers. When I’m collaborating with other designers who need the layered files to reformat for use in other mediums, I always provide a cleaned up version of the layered master. I also expect them to do the same for me.

However, if my client simply wants a layered Photoshop file out of curiosity I will generally discourage it. I will always provide a cleaned up version of the layered master free of charge if they truly want it – that’s just the way I conduct my business – but I also establish some rules when I do. This is based on experience as a layered master floating around can cause problems for both myself and the client. So if I’m hesitant about releasing the layered file it’s really an attempt to protect my client from misusing or accidentally distributing a very valuable business asset.

However, Illustrator files are a bit different. I tend to work in the Illustrator editable PDF format so all of my proofs are essentially “masters” anyway. So I will generally provide a layered master Illustrator editable PDF file and all the fonts after I cleaned them up. Since they are the PDF format, and vector files are quite small, my clients will have no problem opening them with just Acrobat Reader. However they will need Illustrator or Acrobat Pro to edit them.

2. Your Don’t Have The Proper Software to Open the File

This is a common problem. A client will ask the designer for the master Photoshop (PSD) or Illustrator (AI) file yet they do not have the software to open it nor the experience to do anything with it even if they had the program. Several says later the client calls.

“Something’s wrong with the file you sent me!”

“What do you mean?”

“Every time I try to open it nothing happens”

“Ok. I want you to open Photoshop first…”

“Wait, what’s Photoshop?”

“It’s a professional industry standard image editing program.”

“I don’t have that. I have Microsoft Paint though.”

“That won’t work. You need Photoshop.”

“Then why did you send me this file if I can’t use it?”

“Because you insisted on having it.”

“Then send me something I can use.”

“I did, it’s the TIF file I gave you originally. I also gave you a JPG version.”

“Oh, OK, Thanks!”

3. Your Don’t Have a Powerful Enough Computer to Open the File

A layered Photoshop file for a complex poster could be 500mb or more is size. If you have an older laptop with only 2gb ram, your computer will slow to a scrawl while it tries to open a file that big file. It may not be able to open it at all. Design professionals have beefy workstations and files we open easily may be difficult for our clients. So a designer may not want to give you such a large file knowing full well it will just make you frustrated.

4. Your Designer is Worried That You’ll Use the Wrong File

Clients need a variety of file types. For an example, a client will need an outlined vector PDF of their logo, a print quality transparent TIF, and a variety of JPG, PNG or GIF files for email stationary, web use, Word documents, and PowerPoint presentations.

Most designers will clearly create file names such as Logo_Word_Document.JPG, Logo_Web.JPG, and Logo_Master_Outlined_Printer.PDF.

To the designer this seems infinitely wise and helpful. However the client most likely just sees a bunch of logo files and will grab the most convenient one and use it.

“I’ve been trying to email our logo to a website who’s going to write about our company but it just keeps sitting in my outbox and never sends”

“What file are you trying to send?”

“Our logo.”

“I mean what is the file name.?

“Uh, let’s see..it says logo master for printers dot t-i-f..”

“Ok, that’s a print quality file that is only supposed to be used in special circumstances when someone can’t handle the PDF version. It’s 35 megabites in size. At best an email client can handle 12 megabites.Why didn’t you send the file named web?”

“What do you mean?”

“Go back to the files I gave you. Do you see one labeled web?”

“Yes”

“You use that one for the web.”

“Oh , Ok thanks!”

Sometimes it’s the reverse.

“I sent the printer our logo and they said the resolution’s too low!”

“What? That’s impossible. It’s a vector file. It’s completely resolution independent.”

“Well that’s what they are telling me.”

“Uh, hold on, forward me the file you sent them.”

“Here you go, sent.”

“Ahhh, I see now. You sent them the web resolution JPG and not the PDF file.”

“Which ones should I send them then?

“The one called Logo_Master_Outlined_Printer.PDF”

“Oh, Ok. Thanks!”

Now these are not uneducated clients. They are often experts in their field, quick learners and sharp as a tack. However, things that are second nature to a designer are archaic to them. They simply don’t think about file extensions, file names and file size.

Because of this, a designer may be cautious about sending over a huge layered file that is completely impractical for their clients needs.

5.Your Designer is Really Just a Petty and Controlling Asshole

Some designers are just paranoid pains in the ass. They don’t see you as a collaborator and confidant and instead view you as an adversary. These designers feel that they cannot maintain their client list by providing superior service and instead hold various elements hostage to prevent their clients from leaving them.

Stay away from these designers. They are poison and will not hesitate to jeopardize your success to protect their egos. They also make my job exceedingly difficult when they refuse to release files I need to do your job.

If you suspect this is the type of designer you are dealing with, you are probably right. If in doubt, ask them why they won’t give you the layered master Photoshop files or the non-outlined editable Illustrator vector files. If they don’t have a good reason that is in line with one of the first four legitimate reasons then you need to switch designers. Good designers like to empower their clients and will do their best to get you what you truly need to make your business a success.

File Under: Understanding Layered Photoshop Files – What is a Layered Photoshop File – Giving Master Files to Clients

81 comments


  • Lene

    Love number 5!

    July 14, 2010
  • 6. Your client will fuck with your beautiful art/font choice and THEN go to print with it.

    7. Your client will take isolated elements of your design and use them in other projects.

    8. Your client will find the hidden layer where you used an image you found on FFFFound that you used as a template ;-)

    December 8, 2010
    • Clay (The BDD Dude)

      Hah! Good one. Especially number 8.

      December 8, 2010
    • so true.
      clients are the worst if you dont put it down in writing first what the deliverables are. it makes me sick how they think they will get the original editable file – wow
      and the whole world of artists is full of ones who just give away their art for nothing and the client dont even know what to do with it – then goes and makes money off of it in all sorts of ways b4 smiling at you who are broke as ever – and say ‘thank you’
      we do it to ourselves – we must not allow clients to get away with this kind of thing -the more we support it – just so we can have jobs – the more we kill ourselves bc that is spitting on our rights.

      August 25, 2014
    • CB

      #6 … Going through this right now!!!

      February 27, 2016
  • 2-1

    the moment u gave the original file to your client , he will not need you anymore! which happens… and he will mess with the design, thn ruin the designer’s name. and thn will complain ” Oh!, ur design isn’t working, why?!”

    December 28, 2010
    • Clay (The BDD Dude)

      If your client doesn’t need you anymore because they have the original file, then you aren’t providing much value. My clients would never leave me no matter what files I gave them because they are getting so much more than a print ready file when I take on their project. Even when I tell them exactly how to do something themselves, they still pay me to do it for them. They don’t want to be bothered with execution, they want to delegate that to a professional who will just get it done. So, if you need to hold the files hostage as leverage to keep clients from leaving then you are really operating more as a paid hack. In other words you’ve positioned yourself as a commodity and not a value added service.

      December 28, 2010
      • Cheryl

        Not so — your client might have found someone who offers to do it cheaper and why should you have to provide them with all of the work you did on it? If they found another designer, let that designer start from scratch (not that they can’t more easily copy something already done than actually start from scratch like you did). It stinks when that happens, and usually there isn’t much you can do about it (though I wouldn’t just hand them your files unless they pay up) and hopefully the other designer isn’t as good as you are, so the client will realize their mistake and come back — both have happened to me. it’s REALLY satisfying when they come back, though!

        March 20, 2013
        • Janet

          That is exactly right. Unfortunately, customers often try to get everything done cheaper, cheaper, cheaper. We provide excellent service and skill but some customers have taken the work we improved, and given it to competitors who now have our superior files which they were unable to produce. When we release the files, we are sometimes helping our competitors who have a lesser skill level but promise a cheaper price because they can use our work. We want our customers to know that we will provide a superior product. When we give it to our competitors, it is even tougher to stay alive in this aggressive industry.

          January 21, 2016
  • Buyer Perspective — Enjoyed the article.

    All my contracts with artists say “Original vector (when available) high resolution formats, in Photoshop or Illustrator native versions, will be delivered to [company] upon completion.

    To make them feel a bit better about it (when it’s new artists), I put money in escrow or use a middle man finance company. Or, if I feel good about them, I just pay them. I’ve also paid for lots of art where I’ve told the artist to keep the originals, deleted my files and paid them for work I never used.

    When I buy commercial work, I pay for the work and make masters part of the agreement every single time. I don’t want to debate changing a color or slicing it up for print, web or video application. My method of resolving any potential client is the agreement: work for hire. I realize a “real artist” doing “real art” would never give up their license on the process, the history, etc. It’s theirs. Similarly, if a software developer does work for us, I don’t expect them to give up the right to reuse their math, even certain classes. But, we do reserve the right to make money on those things we’ve bought, and sometimes we do that in a way that doesn’t require or justify the original artist. I also don’t want to have to educate the artist on the processes for pushing the work to different media. So, I just pay them.

    January 6, 2011
    • Clay (The BDD Dude)

      That’s smart to spell it out. I always give cleaned up masters if they want them, I just want them to understand what they are getting and not get confused when it doesn’t email, they can’t open it, the printer complains they sent the wrong file, or the web page now takes 45 seconds to load because they inserted a 6mg JPG and then just click/shifted and dragged the edges to make it “small”.

      January 6, 2011
  • I like the points you made here. I totally agree… you will not lose a client once you hand over master files, if you provide good smart valuable services. I would however be very very very very cautious about giving your clients the fonts. You do realize that is in violation of pretty much every font license out there. True too about royalty free art. You can’t just legally pass it on, that is my only reservation regarding passing on native files.

    February 11, 2011
  • I see it the same way as Clay, if they eventually need the working file, it’s good practice to send it over.

    Watch out though, it may be the way they are phasing you out for cheap labor once the original templates are created. damn it

    just talk about it before and make it happen.

    -ji

    March 4, 2011
  • Some clients will take the layered file that you provide and go to a print shop or advertise for a college student or a graphic design intern on craigslist and pay them a lot less to manipulate the design and use the elements on another project. So all the time it took me to color correct images and isolate them from the background will go to help someone else and they will benefit from all of my hard work and get my business. I’m going through this right now. They lied and said the printer needed the original psd or ai file. So I cleaned it up and flattened most of the layers and emailed it. Now they are acting like they never got it and have some guy calling me and asking for specific elements for a mailing that they are doing. I sent him the original stock images I used. I love design, but I hate business.

    July 21, 2011
    • Clay (The BDD Dude)

      I’d say good riddance. Setting aside any debate about releasing masters, to go behind your back like that is just not acceptable. I would also say that this new company didn’t really get your business, what they got was a hack job with a former client that will not deal openly and honestly with their designer. Hardly a victory.

      July 21, 2011
  • Charge the client for the time it took you to prepare the files to hand over. Do it now. But in most cases Faith, legally you can’t give them the original stock images. Most stock licensing agreements state this.

    July 21, 2011
    • Clay (The BDD Dude)

      I don’t see a problem with the stock images if they were purchased for the project. It would be different if you had your own stash that you purchased and then resold them multiple times. However, if the client purchased the file, it belongs to them, not the designer. Also depends on the license. Some are very opened ended and you can use them as many times as you want in any commercial situation (a product package, and ad, a t-shirt, etc) as long as you don’t resell the image itself

      July 21, 2011
      • yea. ditto what clay said too!

        July 21, 2011
  • Sheana

    I’m glad someone mentioned fonts and stock images. I’m asked all the time to release master files which I am happy to do for a small fee (i.e. the time it takes to gather and cleanup everything and get it on a disk for them)or if was previously agreed upon during negotiations. However I make sure to outline all fonts (this also maintains the integrity of the design if the computer on the receiving end does not have that particular font loaded) and clean up the file as mentioned so there are no hidden yet unused layers. If the design contains purchased fonts or stock elements/images, I am sure to require the client to purchase those for themselves. The Licensing on many fonts and stock images is pretty clear, you cannot redistribute (amongst other things) the file. Each user of the image/font must have their own license so releasing the fonts and images to someone without the proper license, opens both you and the client up to all sorts of legal repercussions. How can you know, for example, that the client won’t take that font or image and use it elsewhere? Of course, the exception, for me, is sharing with fellow designers or publications who have valid reasons for needing those master files and are aware of copyright laws etc….i.e. as in a packaged INDD file with fonts and images. I trust that they wont redistribute or use the files for anything but the project at hand.

    August 12, 2011
    • Clay (The BDD Dude)

      Most stock photo houses allow the file to travel. If I buy a file I charge it to the client and therefor it goes with the project. When the project’s done, the file goes to them. The photos I buy also allow me to use it as often as I want and for any commercial purpose (except for reselling the image itself). But i don’t because i don’t want two clients to have the same images. It’s kind of tacky and lazy.

      I don’t buy from restrictive stock agencies. When I buy a stock image, I want it forever and to be able to use it for any project.

      That reduces the total number of images available but not by much. Rarely is there a photo so amazing and unique that you can’t find an equivalent with less publishing restrictions.

      January 20, 2012
  • U.S. Law states that a graphic designer who is a contractor owns their original artwork/design unless a contract for the client to pay for designs outright is signed which gives a client the rights to own those native files.

    Otherwise a client pays a designer to design and obtain a copy of the final file for print purposes or web purposes.

    It’s the same with an artist who does a painting. Just because you own an original painting, you as the owner do not have the rights to sell copies of it and use it for your personal gain.

    Most designers do not understand their rights and unfortunately continue to release files to clients. When they do that, it only hurts them in the long run.

    As for not releasing files and it creating a problem with your client; do you really think they’re going to keep using you after you release those native files?

    January 20, 2012
    • Clay (The BDD Dude)

      There’s two issues here. One is a strict reading of copyright law, and another is how things work in the real world. I won’t work with anyone that won’t release their masters to me because I need them to do my job. I likewise would expect a client to not work with me if I did the same thing.

      Things move very fast. I’m changing files constantly and often hours before a print deadline. I’m assembling trade show booths and sell sheets a week before the event. I’m working with marketing people, print houses, co-packers, shrink sleevers, label printers, box manufacturers, prototypers, coders, CAD artists, and video production houses.

      I’m working with people in China, the Philippines, Russia, Australia and all over the US. We’re putting these projects together 24/7 as we all have deadlines and we’re often anywhere from three to fifteen hours time difference. So if you think you can sit on master files and hold all these people hostage you’re making a big mistake as it would serious slow things down as you would create a bottleneck in the production process.

      And if someone loses clients after giving them the masters files then they are probably a shitty designer and pain in the ass to work with. Not only have I never lost a client after giving them the master files, I actually get clients because they decided to leave their current designer because he/she is uncooperative and distrusting of their intentions and holding their files hostage.

      The master files should not be your value. A master file is just a thing. Your value should be your expertise, your insight and wisdom, your customer service, and your ability to be the calm in the center of a storm. That’s what keeps your clients coming back. Not a layered file.

      January 20, 2012
  • “And if someone loses clients after giving them the masters files then they are probably a shitty designer and pain in the ass to work with.”

    Really? How long have you been a designer? Next time I go and get my car engine worked on, I’m going to demand they show me how they fixed it; afterall, I paid them to do it so I should see how they did it. Same with a home; I can’t own the rights to the blueprints on a house just because I own the house. 

    I’ve never had to hold my clients hostage because they sign a contract and they understand their rights to my design files.

    In my opinion, its all about educating clients so that I’m never put in an uncomfortable situation to look like a bad designer. In the 25+ years I’ve been designing, only one client had to be shown his contract and it clearly stated “buy-out” costs for his files. He wasn’t upset at all. He sold his business and wanted the new owners to have the files to give to an ad agency. He purchased them and I lost a client. 

    Buy-out clauses in contracts are for protection of my illustrations as well. I design lots of custom art for t-shirts. If anyone thinks I’m handing over custom art because a client wanted it on 200 shirts for a one-time event, that’s just crazy.

    Designers need to stop just giving away their work because a client scares them. A designer will always own the native files.

     

    January 21, 2012
    • Clay (The BDD Dude)

      I’ve been working professionally since 1984.I’ve worked with major companies like Google, Intel, Playboy and Discovery Channel as well as tons of mom and pop and start-ups. I don’t have a buy-out clause because it’s not a big deal to me. As I said in the original article, if you have a buy-out clause for the masters and that’s agreed upon that’s fine. I just don’t care.

      I’ve illustrating professionally just as long. I generally work on a simple work for hire unless someone’s buying reprint rights to a piece I already created (like my comic strip).

      Just because you give someone the masters doesn’t mean you can’t also own them. They are just digital files so there really isn’t a master in the traditional sense like a painting. So it’s really no problem for each the client and the designer to have a set – they’re identical copies and making multiples copies does not harm the original.

      So I always keep my original drawings that were created on paper as that is a unique and irreplaceable item that also has its own value. A digital file though doesn’t have the same unique value though because the value is not in the layers but in the creation itself. I don’t think anyone’s going to be collecting layered PSDs from artists anytime soon.

      But back to the analogy, yes I expect my mechanic to explain how they fixed my car, just as I watch my plumber fix my water heater. Understanding how they did it does not lesson their value to me, nor does it hurt them.

      And if I paid an architect to design a house for me, you bet they are going to give me (sell me) a set of all the blueprints. It’s my house. That doesn’t give me the right to then start building additional homes using the same blueprint, but there’s no reason I shouldn’t be able to own a full set of those blue prints. I also need the blue prints so I can safely make additions to the house and apply for any additional remodeling permits.

      In my opinion, a lot of the old rules involving “masters” is outdated. Masters really used to be “masters”. There was only one, so the artist generally kept it and sold the rights to the image. If the artist became popular, then the original art became very valuable.

      But what about an image that was created or completed digitally. What exactly is the master anymore?

      And as far as reproduction rights go, I know the Artist Guild Handbook has a lot of wishful thinking about how that’s supposed to work but it’s based on a very old concept where illustrators were commissioned by large publications to create an Illustration for them for one time use and the artist could then resell that to someone else. It worked because the field was very small, the competition low and the payment high. Also, because each person’s experience was very limited, the same piece of artwork could be resold over and over and it wouldn’t hurt the the brand value.

      But now our worlds are very large and we consume an enormous amount of media in all forms. Time magazine can’t purchase reprint rights for a cover and then have that same artists sell it to another magazine. Everyone would look stupid.

      When I worked for Playboy, they purchased all rights. That’s how it is when you worked for Playboy. In exchange for giving up your rights you get exposure in what was at the time, one of the biggest and prestigious magazines in the world.

      My originals were always returned to me of course, but they purchased global reprint rights forever.

      So Norman Rockwell would have zero chance to recreate his business model today. The big publishing houses are collapsing, budgets are tighter, content is more disposable than ever and the competition is global.

      So now anyone can publish easily and cheaply. You can commission fantastic art with any artist in the world and have the files FTP’d to your server.

      You don’t have to pay agency fees or even work with an agent. You don’t need a physical office. It’s both a buyers and a sellers market depending on your perceived value at any given moment.

      Does this hurt artists. Maybe, but I would also argue it’s really just a democratization of the field. For every artist that is hurt by the globalization of our field, another one is having opportunities that were impossible just ten years ago.

      That’s a bit off topic but it provides context for why I don’t think digital masters are all that big of a deal. Generally they just make everyone’s life easier if your client and all their manufacturers also have them. It’s also a bit of insurance should yours get destroyed (which is quite common with digital files – analog art is far more durable)

      January 21, 2012
      • Architect

        Regarding the conversation about the architect and blueprints. The service you are receiving from the architect is the design and the creation of the blueprints, not the house. So you are correct to ask for the blueprints of the house, because that is what you paid for – just as a brochure etc. is the product that a graphic designer is paid to produce. Try asking the architect to release his original CAD or 3D files to you and you will most definitely be denied. If you are not denied, then the architect is taking on a tremendous amount of liability. Even before digital architectural drawings the client would receive a copy of the final drawings created in ink or other uneditable reproduction.

        I have no problem providing my original files to contractors, etc. just as I have no problem providing my original files to print houses and web developers to use on specific projects, but I would not just drop off my original files to a client to use as they wish.

        April 10, 2013
    • Chris

      “Next time I go and get my car engine worked on, I’m going to demand they show me how they fixed it; afterall, I paid them to do it so I should see how they did it.”
      Yes! That’s exactly how it works!
      Mechanics charge for “Parts & Labor”. I ask every mechanic I work with to give me an EXACT itemized list of the parts they used to fix the car (this is the ‘Parts’ portion). And, I also ask them to inform me exactly WHAT they did to my car (this is the ‘Labor’ part). If I ask, they will happily show me where the parts got installed, so I can verify the work performed. I’m not asking them to show me HOW the parts were manufactured, or how they learned how to install them.
      Likewise, just because you provide the layered Photoshop file to a client, does not mean you have to sit there and describe to the client HOW the artwork on the layers was created.

      It’s not the list of parts nor the explanation of the installation of those parts that make a mechanic valuable. It’s their skill, their artistry, the ease of working with them, their trustworthiness, their knowledge & expertise, their calm in the center of the storm, as Clay put it. I go back to the same mechanic time after time because he’s the guy that I like working with. He’s easy to deal with, he does the job well, and he shows me what he does so that I can verify his work.

      I would never work with a mechanic that wouldn’t provide a parts list, nor one who wouldn’t describe to me the labor performed, nor show me the exact place in the car where the part was installed.

      Similarly, I would never work with an artist who wouldn’t provide a layered Photoshop document. After all, I’m not asking them to show me HOW the artwork on the layers was produced.

      As an example, an artist refusing to send a layered Photoshop document to a PAYING client is like a mechanic being angry because you, after driving the car home, tightened down a loose bolt in the area where he showed you the work was performed.

      Inevitably, as Clay mentioned in his previous posts, under tight deadlines in the real world, their will be a need for a layered document. Perhaps if only to scoot an element up a few pixels, or to add a forgotten, trademark symbol, or make small modifications within hours or minutes of going to print, and their isn’t time to work with the original artist to get it done. Why force a client to miss a print deadline in order to a small modification simply because the artist wants to be a control-freak? That would be the last time I worked with that artist.

      If you, as an artist, are good, the customer will keep coming back and will appreciate the flexibility you provide them so that the customer can get their jobs completed on time and without difficulty.

      March 15, 2012
      • Joe

        A very well thought about response, but you couldn’t be more wrong. A client will take your .eps, .psd file, and instantly start looking for people who will print it cheaper (provided you do the printing for them). The bottom line is, as long as the client has the .eps, .ai, .psd files for their design…your transaction is pretty much over, and they really don’t need you at all. They’ll always be looking for less expensive pricing. There is hardly any loyalty at all in this industry anymore.

        June 8, 2015
        • Clay Butler

          I think that’s true for designers that don’t offer much more than making a pretty design. However, my clients are for the most part very loyal and are coming to me for much more than just a design. They appreciate and value the fact that I’m always looking out for their best interests and treat their success as my own. I understand FDA compliance, can file trademarks on their behalf, write excellent sales copy, have a network of excellent and affordable printers and suppliers, develop names and taglines, make dielines from scratch, file DMCA notices on their behalf, explain the process for pitching their product to Whole Foods, prepare all the items for their first trade show, and converse fluently with their lawyers and everyone in their supply chain. That’s my value, not just a one time label for a jar. So I don’t sweat it when a good client wants an editable master. It’s only one small part of the puzzle and only a few ever ask for it and it’s always for good reasons. And if it’s for a bad reason, do I really want to hold the file hostage and have a former client (that I wouldn’t want on ongoing relationship with anyway because we’re a bad match) running around disgruntled and bad mouthing me? What for? To prove a point? I’m not interested in proving points or teaching lessons. I want to be surrounded by clients that think I’m the most awesome thing ever. And to do that, you have to expose yourself to potentially being shafted. You can’t be both guarded and open at the same time.

          June 15, 2015
  • Elizabeth

    Especially since Dwayne mentioned printers wanting pdf format files (which we do!!), I thought I would put in a note. Make sure you cull non printing layers from your files (like die line layers) before sending it to your printer! I work at a printing and label company and do our prepress work as well as some design. Our particular trapping software doesn’t recognize that non printing layers shouldn’t print. Because when you open the pdf in acrobat those layers don’t show, unless I open the files in illustrator I will occasionally find that I have been provided art with hidden die lines when they appear on the plates. If you need to show the exact location of the die line, setting it in an unused spot color set to overprint is a safer way to do so. Or just be clear about including a die line layer so they don’t find out the hard way.

    March 15, 2012
  • Exactly! Kudos to you. By the way Is it right for a client to ask one designer for a logo then ask for master file. so the client can pass on the logo to another practitioner (webdesigner) for designing a website? This is the problem I’m having with my client at the moment she has only the PNG file and we need the psd so I can rescale without Pixel issues. However the original designer for the logo seems to be avoiding giving out the original file.

    March 17, 2012
    • Clay Butler

      I feel your pain. The designer is flat out wrong to not give out a print quality file. If they designed it in Photoshop (hopefully not) then you need that raw file…or flattened version (with transparent background). Hopefully it was an Illustrator file in which case they should be providing an outlined version of the logo in AI or PDF format. So many designers lose clients over this. I know because they lose their clients to me.

      I’ve said it many times and I’ll say it again. Any client that leaves you once they get the master file, and then has some hack continue the work for a fraction of the fees they were paying you, is a client NOT worth having.

      Good riddance.

      The clients you want are the ones who understand your true value. Only the wannabes and dreamers confuse a master file with the talent it took to create it.

      March 17, 2012
  • Kathy

    You left out one option:

    6. You haven’t paid the designer yet for the work performed.

    This is the situation I’m in currently. My client is putting off paying me, inventing more and more excuses for the delay. Now he’s suddenly making my turning over of the PSDs a requirement to my receiving the money I owe. In the dozen years we’ve worked together, he’s asked for the PSDs three or four times, and I’ve given them to him without a problem. Even upon completion of the current project, I had no problem with handing over the files–until he began to make excuses for not paying me and demanded the PSDs. I don’t trust him to comply with payment once I’ve delivered the files. Further, there’s no reference in our past work agreements that he’d even receive these files; I gave them to him as a courtesy.

    The client is such a pain that I don’t plan on working with him. But until he sends the overdue amount to me, I plan to keep those PSDs to ensure I have *some* leverage to receive payment.

    March 27, 2012
    • Clay Butler

      I agree 100%. I think there must be something going on behind the scenes that you don’t know about. For your client to suddenly pull this on you after working together for a dozen year is odd. Stand your ground though.

      March 28, 2012
  • Next time I go buy a sandwich, I guess I should ask for the recipe and unlimited materials to make more sandwiches with. I mean hey, I paid for the sandwich…doesn’t that entitle me to something more than the sandwich I paid for? Isn’t it standard business practice to not only provide people with products, but also the materials needed to reproduce those products? I know that every time I buy a shirt, I’m also handed a large bag of thread. I’m completely surprised when I’m not handed a bag of thread with my shirts. I thought it was the standard. This reminds me of people thinking that paying $100 for a one-off logo gives them the right to utilize it for other purposes aside from that one-off project. For example, a client recently had me design a logo specifically for a website…for the website itself, not for a company identity. They then took that to mean they could establish an external corporate identity from the website, and utilize my logo design as the branding for it. The problem is, the difference in price between a design intended just for one use is much different than an actual corporate identity, the uses of which will be plentiful.

    May 18, 2012
    • Clay Butler

      You should had wrote that into the contract then if it was important to you. I would had made the same assumptions as well. If I paid for a logo design for my website I would assume I could also put that on my business card. I think these restrictive use policies are a big waste of time. Charge more and be done with it. Are you really going to pay a person to patrol the world for contractual violations over usage? No, of course not. For all practical purposes, once you turn it over to the client your control ends. Only big corporations have the resources to enforce these things. It’s best to just charge what you’re worth and move on.

      And the sandwich analogy makes no sense. Every sandwich made requires new materials that cost money and have a limited shelf life. Now if this deli could make an unlimited number of sandwiches just by pressing a button, with no additional resources being required, and you too could just press a button and make duplicate sandwiches, then we’d be closer to a comparable analogy. But even then it’s still makes no sense.

      May 28, 2012
  • I have a similar problem to this discussion. Has a bit of a twist though. I am a wide-format printer and had received files from my client who is a vehicle graphic installer. He received the files from his clients designer for a trailer wrap. The files that came in had no bleed and several things had to be moved around so that the final flattened file could be printed properly for the install. The client wanted us to make the changes, which we did form supplied layered files and were paid to do so. A few months later we had to make a few more changes to the document because the next trailer to be wrapped was a little different from the first. We made them, printed them and were paid for our services. In the meantime, my client the installer wanted to use my facility to install the trailer. We rent our facility out to various photographers and people alike and can receive up to $1500.00 a day for our main studio. I told my installer that we would need a fee of $150.00 for the rental. We gave him a reduced fee because of our relationship and he didn’t need it for the full day. He got upset and installed the trailer elsewhere insisting we should have just let him use the facility for nothing. There is another trailer to do now and he now wants the layered files so he can give them to the new print shop to make changes and print the new trailer. I have given him all “final flattened” artwork to produce the 2 trailers that I worked on. Even thought I did not “design” the trailer, I believe that the work that I did is my intellectual property. Should I give him the layered files or should I give him the original pieces of crap that I had to start with. He paid for my services to fix file for the final output. Thanks.

    September 17, 2012
    • Clay Butler

      That’s a tough one because he really didn’t hire you to fix his design. He hired you to print and apply and you fixed the bad file on the assumption of getting the full job. Sure he paid you to fix the file but I bet that if he just came to you and said ” please fix this so I can hire someone else to “print and apply” you would had either turned down the job or charged a heck of a lot more to fix it. Me, I would say good riddance and turn over the corrected files. Sounds like this client is nothing but trouble and getting into a pissing match over a layered master has no upside for you.

      October 4, 2012
  • Paolo

    Just started reading this and i loved it. Very helpful for starting graphic designers like me. From this day on i’ll try saving my files using PDF (its genious!) and just also found out that you can put passwords in them for them not to be editable, printable etc.. thanx a lot!! Paolo here – graphic designer located in Saudi Arabia.

    October 23, 2012
  • Greg

    You’re fortunate to have of a reputation and enough business to be willing and able to give your masters away and be done with it. I’m fairly new to the profession and work for people I know most of the time. They put next to zero value on my time and effort. They think I enjoy doing design so I should be willing to do things for free or at super discounted prices. Just like interviews for design jobs where they assign you “test projects”. More free work. I say use all the leverage you can, when you can. Its a dog eat dog world and they would do it to you.

    October 27, 2012
    • Clay Butler

      I understand where you’re coming from but you’re also setting up a self defeating pattern. You need to charge what you are worth, stop working for people that want stuff for free, and stop doing free “test projects” for a job. These people will never value you as long as you keep putting up with their behavior. Clients will give you as much respect as you give yourself. The reason I have a good reputation and enough work to keep me busy is because I expected to be treated and valued as a professional right from the beginning. That’s how you get treated seriously, not by holding master hostage and nickle and diming your clients. Yes, that will mean losing some jobs in the beginning but in the long run you’ll build the client base that is compatible with your goals. Respectful clients that can pay you what you are worth hang out with other people who are just like themselves. That’s the referral base you want. Cheap, disrespectful clients hang out with other cheap, disrespectful people. It’s just how social networks form. People naturally create relationships with those who reflect their own values and lifestyle. That’s why behaving as if it’s a dog eat dog world will only keep you trapped in that world. You can’t escape it by putting up walls, you just have to leave it entirely.

      October 30, 2012
  • Dwayne M

    Great Article, and insights from all sides. My situation is I have created motion graphic work (Adobe AE file) and client wants the master. Initially the work performed was as a promo in order to create the out put of the file, a video of the motion graphics.

    Some of the image work is scanned from his illustrations, and sound from his voice, also recorded at my facility. Most of the creative direction was mine as the client was absent and essentially tweaked and repositioned elements in the final.

    There was no discussion of price on the work, nor on the master, but the client is insisting that in a verbal conversation we had, he mentioned that the nature of the work was to ultimately obtain the masters along with the out put from Adobe after effects. (The Video file).

    We had a long conversation on the phone, to this regard and in a moment of frustration, I said i will provide the masters, as i felt frustrated and thought better to be rid of this client then try to foster this new relationship.

    I have never been in a position to be asked for the masters as it has never been an issue. I create various forms of design work for print web and motion graphics, and with the clients I have worked with in the past, if any had asked I would have provided them for free or at a reasonable cost depending on what the nature of the request was.

    However this is a new client and I feel apprehensive, after saying I would provide the masters. Would it be bad form to quote a price now and or create a contract to stipulate terms, Intellectual property rights, etc…

    or

    Do I provide the master free as a show of faith and attempt to build a relationship?

    November 6, 2012
  • jimmy

    I started reading this as a definite “don’t give layered files” supporter. After reading Clay’s points I’m more open to the idea of providing layered files in some situations, but don’t agree with the comments that those who don’t are ‘bad’ and stubborn or hacks.

    A client will come to me and say “can you design me a leaflet”. I’ll design them the leaflet and give them the pdf. If they want a different leaflet doing they can come back to use me if they liked working with me, or they can go elsewhere. If a month later they want the same leaflet doing but with a few changes, they have the choice of going elsewhere and getting it done, or they can use me. The bonus of using me again is that I wouldn’t have to build it from scratch and would only take an hour to do the changes. It’s their choice.

    Clay, I know you’ll put that down as ‘holding to ransom’, but it’s not. I produced a leaflet for said price. Job done. If they wanted it doing so they can change things another time then that’s a whole new ball game and higher price.

    Analogies seemed to have been liked so far. If I was putting on an event to showcase my company and employed a great chef to cook a meal for it. If I enjoyed the meal I’d think he was a great chef and ask him to do my next event. Maybe the same dish but a little spicier, or maybe a completely different dish. I wouldn’t go into the kitchen and say “here’s your money for tonight…if you can just write the recipe down here that will be great”. I’d got the meal I paid for but a good chef wouldn’t give up the recipe that he’d spent his time and effort working out little techniques how to get the right flavours to work etc. He’d rightly have concerns that his one night of work will then mean I have a recipe that I can get some junior chef to knock together anytime I need it and then start using it wherever I want, maybe catering for other companies. Who knows. I can do what I like. Yes it’s only 1 recipe but the fact the chef created it from nothing, it seems a little unfair to then give everything over. If I’m paying him to produce me a meal, why on earth am I then entitled to a recipe and directions on how to cook it?

    The way you work seems to work great for you Clay, and from what you say if people working within your circle weren’t equally as open as you it would be a real spanner in the works. That’s obviously great for you. But there are lots of designers who need to protect themselves from being used. I’ve had it where I produced a really good logo & leaflet for a client. Job done. The client then had a family friend who they wanted to have do their artwork from now on (fair enough). They were asking for the artwork so they could use it when building the website. I sent the logo and a pdf of the leaflet to act as a guide if they wanted to match the look. They kept pushing for layered artwork for the leaflet and I told them in all honesty that layered artwork wouldn’t help them at all. They’d find it just as easy copy it as a guide. I finally gave it and they ended up just dragging and dropping sections to do flyers, the website, posters and further leaflets….doesn’t quite seem right to me. You may say “good riddance” to a client like that, but that’s why designers like to protect their work or at least make sure they get paid fairly for the intentions of the artworks use.

    It’s quite simple. If you want a poster designing, I’ll do it for £X. If you want a layered version that you can then get any Tom, Dick or Harry to change around…absolutely fine, but that’ll be £Y. If you think that’s me operating as a paid hack then so be it. Not every piece of work I do is going to be some creative, original piece…so I’m happy to be a ‘hack’ and keep the money coming in. A company should be happy to say “we need a catalogue doing” and then be given a designed and printed catalogue. Job done.

    I buy a can of coke because I want a can of coke. I’m not then thinking I should be given the recipe so I can recreate it myself for cheaper.

    November 24, 2012
    • Clay Butler

      I think you skipped the very first legitimate reason and that “It’s a Legitimate Business Decision Based Upon Agreed Upon Deliverables”. I fully support the extra change or buyouts for layered masters. I just don’t do it myself. I charge enough up front to make it a moot point. Have some former clients used my masters to further their marketing goals without me? Yes. But the key is they are “former” clients. I have no interest in clients that can’t tell the difference between my work and a hack job. I’ve seen my great designs slowly deteriorate from subsequent iterations by lesser designers. It’s sad, but it happens. But the thing is they wouldn’t have kept working with me anyway even if they didn’t have their own masters. And if that’s how they do business, then I don’t want them as a client. Because if a hack job in their eyes looks indistinguishable from my work, then I’m nothing special in their eyes. They can’t see the value in my work. I want clients that think I’m friggin’ awesome and see the big picture.

      But yes, of course I support extra fees or buyouts for masters. That was my first point. And that should be agreed upon ahead of time. What I don’t support is extortion or holding files hostage. I’ve been in that situation with other designers and it sucks. I can’t have some designer refusing to give me a non-outlined PDF of a brochure so I can cut and paste the text for the “about page” of my client’s website. That’s just being petty.

      December 1, 2012
  • Scott

    You made comment about editable ai files..well I will never send an ai file with text intact…it is a licensing issue with distributing fonts…this is why printhouse want all text converted to outlines. Of course there are standard fonts included with ai, corel and other programs but again it goes agains the licensing agreement…this also included other fonts that are purchased.

    November 28, 2012
    • Clay Butler

      You can send a file without converting to outlines. There’s no licensing issue with that. But if they don’t have the fonts installed on their end, Illustrator will substitute the missing font with a generic and mess up the design. That is why printers want fonts converted to outlines. It’s not a licensing issue as the fonts aren’t included. But some clients need the ability to change a phone number or other simple stuff and I don’t want to make them come to me each time. So I’ll send them the fonts they are missing so they can open the file and edit it. I know that situation violates font licensing but it’s not like I’m selling these or the client will ever use them for anything else. It’s just so they can edit one file. Most of the time it’s just a system font that they for some reason don’t have.

      December 1, 2012
  • Simple

    Recently I was asked to design a logo for a client.

    In this country, Intellectual Property is non-existant, so there is a challenge when it comes to pricing and handing over master files.

    This client wanted a logo, so I set up a package, I told her that the price she is paying will not allow her to get a master file, would she like to continue, she did, we worked on it and I ensured she paid for the changes. When the designs were done she paid on delivery and I sent her hi-res jpegs and PDF according to our agreement. A day later, she requested the master for some cousin, etc, screen printing amongst others. I told her this was not possible and explained again my reason. She said she understood but insisted. I said ok, I will send you the file when you pay X amount of dollars, which is not much, but I was willing to part with the masters at that point. Later she was upset and told me that in essence I was not pleasant, she is not paying anything, and apparently did not do a good job anyway,a nd she won’t use the work after all.

    I currently live on a small island and this could get around really quick. My rep is at stake. However, I have made a decision, and I do need the money, but if I have to watch my toil got to some ‘cousin’ who feels he/she/it knows best, well then she should have used them and not me.

    My take is, everything was going well up until that point. I took all of her concerns into consideration, I made sure she was ‘happy’ I even did a business card and letter head along with the logo package. And in the end she took everything and while we initially agreed on the masters not being sold to her since she did not want to pay much…I am still seen as the bad one. I understand what Clay is saying and I disagree with the ‘ransom masters crap’. If a client is never satisfied with the finished files, then they will be unsatisfied with the master files. It is greed and it is unfair.

    December 5, 2012
    • Clay Butler

      Was that PDF vector? If so that IS the master for all intent and purpose. They probably didn’t know that all logos are outlined text (uneditable) so it will always print perfectly. And if you designed the fonts yourself then they were outlined by default because they were just shapes. You should had just re-saved the PDF as an AI and gave it to them. But your example is exactly why you should just charge more and be done with it. Now they are jerking you around and getting all pissy over a simple misunderstanding. However, If you DIDN’T give them a vector file for printing, then they have every right to be angry. A raster logo is useless. I assume the PDF was a vector file though.

      December 9, 2012
      • CreativeL

        I was asked to design a flyer recently. But the client wishes to have the “entire right, all data, software, files, designs, layouts, artwork, models, processes, patents, mask work rights, copyrights, drawings, notebooks, audio works, ducuments, photographs, inventions, works of authorship, notes, improvements, information, materials, and discoveries(“work products”) made, created, conceived, …” stated in the contract ” NDA” agreement form.

        How much would I determine to charge the fees for it? If I use original photo, how much is it worth for a flyer? Illustrations – unique work?

        Please advise if anyone could suggest.

        January 7, 2013
        • Clay Butler

          The client sounds pretty ignorant to present you with such a ridiculous and nonsensical contract. They must had found that on the web somewhere as they don’t even understand what an NDA is for. I wouldn’t even sign it. They are entitled to one finished flyer. Then quote for that is worth.

          March 23, 2013
  • As easy as this: (Example)

    INVOICE

    Design: 500dlls
    With originals: 1500 dlls

    April 3, 2013
  • John

    Hi, I hired a freelance GA to do the layout on a craft book. Everything in the book is my IP. The scope of GA work was to get it to the publishing stage. As they do not want to continue maintaining the file after publication and it is vital that I, the publisher can access copy, I require the master file. The GA has not designed any logos, created unique illustrations etc but is reluctant to hand over the file. All the copyright for the book lies with me, illustrations, images, text. I am familiar with InDesign and Illustrator and could easily conduct small edits on the book text. The GA has not been very co-operative and I felt the whole time that my work was an inconvenience to them. What do I do?

    September 15, 2013
  • Rob

    I currently have an issue, but I need clarity. I’m a designer working on my own freelance business web, print, branding. I started it in 07′. I met a friend of mine he started up a web design company in 08′ He is not a designer he hand codes only. I agreed (Verbally) to work with him as a Contracted Service for him, in his office space for only his work and his clients, not not my own clients. I offered to become a 50/50 or even 60/40 partner with him and then water dissolve my business, but he didn’t want to. After that I told him my focus is going to be geared toward my business in growing it more. As time went on I started restructuring my how I conduct business. Not giving my PSD layered files out. I took my files off of the computer but still continued working at his office as a service for him off of my external drive, as I have always done, just not Syncing to his computer he had set aside for me to do work there. I give him the PSDs for the website designs because he needs them to cut them up into HTLM and CSS but the print project PSD file i’m refusing to give to him. I will give him the flatten PDF files, but not the layered PSD files. We have no binding contract between us what so ever ,and he is threatening to take me to court if I don’t hand over the print layered files. I told him I would give him the website Design PSDs and the Flatten PDFs all of the print work. Logos there were created he can have the EPS file. My question is am I in my right to not give him the print PSD files to the print stuff?

    October 24, 2013
    • Clay Butler

      Yes, you are in the right. Giving him layered files for non web work is beyond the scope of work that you agreed on. Since he’s not a designer, his only use for non-web layered files would be to work behind your back with another designer.

      December 15, 2013
  • I’ve been a designer for the last 17 years and I have to say, this article made me laugh. HARD. It’s so true. All of it.

    January 9, 2014
  • Master Designer

    That’s why you first try to license out the work and not declare full ownership of your design. you are the designer you are the owner.

    Its a business bargain that you need to attend when it comes to designs for people. you need to set your self with the upper hand at weight out the costs for your business.

    My method is simple:

    1 quote a job for a license of the design.
    2 quote for a exclusive license.
    3 quote for partial ownership
    4 quote for ownership
    5 quote for layers

    no one is getting my History. A magician never reveals its tricks. Its not selfish its just wise. sometimes a potential client might try to undermined you and when they do its when they will try to take from you. Just know its going to eventually happen let it happen at the right cost.

    the higher down the line it goes the more expensive it gets.

    I would never say no to
    Layers I would just treat is a client that potentially wont come back. and they must pay

    March 14, 2014
    • Clay Butler

      It’s a nice fantasy list for sure, but you’re totally dreaming if you think a corporation is going to license your work. All companies must own their IP outright. Otherwise, they aren’t really a company. I suspect you haven’t been in the business long or have started your own corporation.

      April 3, 2014
  • Kathy

    I would never release native files unless it was a church or non profit. Not exposing our secret sauces. What we worked on for years to master, only to hand over to some cheapster that’s afraid of spending a few bucks a year on an update. Ridiculous. Businesses help businesses. B2B. If they don’t respect that, then I don’t want their business.

    Heck, most of the time we don’t charge for simple updates when clients are committed to us. But, I have to say we have only had two clients ask for this in five years, so it’s a non issue here.

    January 30, 2015
    • Clay Butler

      I work with a lot of companies all over the world and it sounds nice in theory but when a client in Honk Kong is stressing out because the plant in Shenzhen can’t make a simple update on the bag design ( like fixing a phone number or an ingredient) and they start work at 6pm my time and finish work before I get up in the morning, giving them an editable file with fonts included can save everyone a lot of headaches.

      And yes, it’s rare that a client wants a master files and most of the time they have very specific reasons for doing so that has nothing to do with finding a cheaper designer.

      February 19, 2015
  • Let’s be honest. Rule #1 repeat business. Many or most do it to keep the client coming back to them because they need the designer then. They can’t get away with simply paying for the designers time and give it to somebody else to pay them for their time. I honestly find it really annoying sometimes when I have multiple designers working on a project and one designer won’t share the files so the other designers can do their part.

    June 12, 2015
  • Hello Everyone
    I have read this page more than twice and all of you are right from different points of view. I agree with Clay about the guy in Hong Kong, this guy needs to keep HIS printers running. The level at Clay’s work is far from most of us. It does not mean that some day we might be as he is now. Clay cannot do all the job by himself anymore, he has to delegate. Something most of us cannot do. He works with people whose interests are not the same as his, the person in Hong Kong prints, does not design. There is no conflict in functions. They work with customers at the same scale, they do not design nor print. No one tries to get the other’s business. It is cheaper to hire someone with the skills rather than develop them.
    I also see that Clay works on a market where money is not the same issue as in the market the rest of us deal with. We have customers who will respect us as Clay is respected and some others who just look for cheap work, as in trying to make us work to build a Ferrari, Lamborghini or Bugatti with the same quality at the price of an old and in bad shape cheap car. Do not take me wrong, a cheap car is a wonderful solution for people with a low budget like me. A cheap car well maintained is still a good car. In time, as you get better… Your budget not so tight… I think you get the idea.
    There are customers who do not want or cannot afford a Ferrari but they need a cheap car in good shape. They trust the seller and pay without a problem for a car to match their capabilities. The seller might be smart and make a deal as a win-win situation for both: the customer is happy and will refer the seller to other people, the seller will get more business and so on.
    Sometimes, the seller is not smart and will fool the customer. Sometimes, the customer will try to get advantage of the honesty of the seller by asking for things that, for that car or price, cannot be fulfilled even the maker. In neither case there is a winner.

    If you want a Ferrari or Lamborghini or Bugatti, you have to pay for it.

    If the seller realizes that you are bluffing, you will pay the price and he might not do business with you.
    They have the chance to reject the deal and wait for a really good customer. We cannot do that. We need to be extra careful when we find those “customers”. Our work has a value regardless we build a low budget car or a Ferrari or Lamborghini or Bugatti or anything in between.
    I do not see why I have to give away my technics, my knowledge and my approach to the job just because the “customer” thinks he is the proprietor of my trade, he is MY CUSTOMER and NOT my employer. If he wants that, he will have to pay for it as big companies pay when they see smaller and not so smaller companies with potential for their business like Facebook with WhatsApp, Google and Sketch Up, Microsoft and Skype, AT&T with Cricket wireless. They were not cheap.
    If I decide to share my skills as an open source, it is MY decision, NOT the customer’s right.

    July 14, 2015
    • Clay Butler

      I agree. It’s a business decision everyone needs to make for themselves. But to avoid confusion, it’s probably best to state up front that they get a finished, outlined (or flattened) file of the approved design and any layered editable files is an extra charge. Avoids hard feeling later.

      But don’t sell yourself short. I’m just a one many shop, supporting my family to the best of my abilities. I have the same anxieties you do. I have no idea where my next check is coming from. I’m hustling constantly. Lining up projects in the top of the pipeline and seeing which ones make it through to first deposit.

      But I started right from the beginning, when I had no clients and was making very little money, with a very open business model. I always gave away knowledge freely. I was always willing to take a chance on being shafted in exchange for developing deep relationships with my clients. I hook people up with my network all the time.

      Someone comes to me with a finished design already, but they need a good wrapper printer, I introduce them to my guy in China. Maybe they’ll remember that and come back to me later for a job. Maybe they won’t. But my printer in China sure remembers though and that’s why I can push though rush orders when my client needs to. So for me, I’m about the type of life I want, the type of person I want to be, ten to twenty years from now. And then I make decisions now, that will get me to my future self. So for me, exposing myself to the world, maybe getting screwed now and then, it the price I have to pay to get to where i want to be.

      July 23, 2015
  • Linda

    Can you please advise? we are a small magazine & hired a free lance designer over 12 months ago to do the design of our magazine.we were already running for 4 years previously& we supplied her all of our info. We recently had a website built by her, & she has said we can’t be administrators of this either. As a favour my daughter built us a Facebook page it was only then we realised we didn’t have any files. The designer has recently told us she’s now opening her own magazine using all the ideas she’s learnt & was paid by our magazine. She did say she wasn’t sure she would have time to do both. We have paid her to setup new files. But she is now asking for payment again. We can’t run our business without these files. Do you know where we stand as a business?

    September 7, 2015
    • Clay Butler

      Sounds like she is screwing you over. I don’t know the laws in the UK, but in the US, she would have zero chance. But if paying her extortion is cheaper than a lawsuit and better for your business, I’d probably just pay her. But not until you have ALL the editable files and full control over the entire site including hosting and domain control.

      September 22, 2015
  • I am not a graphic designer, but I am in the process of having my website re-designed, and this conversation is fantastic with regard to design work and IP control.
    The reason I am reading in depth so far out of my field (I’m a mechanical engineer, and owner of a foundry and machine shop) is that I am not sure if I made the right choice with web-designer/host, and getting tangled into IP messes as has been discussed above is getting to be a concern.

    As is very common with niche industrial businesses, marketing oriented people have a hard time coming to a full understanding of what my business actually does.
    Finding someone that both can produce reasonable quality design work, both in imagery and site layout, while having enough of a solid grasp of what an industrial manufacturers target market consists of, is a brutally difficult task. That is what my current growing concern is- that my new site is basically a learning experience for me, and that I will shortly want to redesign it to better serve my business.

    It just feels like my intended message to my customers is getting lost in the “design style” that my contracted web designers have learned through schooling or work experience, and that I will want to have the raw files used for compiling the site.

    My point of view is this, I have contracted my web design company to do the “framing” of my site, to get a working structure in working order so that I can build on going forward,on my own time. If they decide that they won’t supply the raw files for compiling the site, I think I would take serious issue with it. I am supplying all Images, copy writing, and all content, basically I am paying them to assemble this content into something useful, because I don’t have time (or the practice) in making something aesthetically pleasing in a reasonable time frame.

    Ok, that parts done.

    Now to rebuke an opinion that was posted earlier..

    “… just because the “customer” thinks he is the proprietor of my trade, he is MY CUSTOMER and NOT my employer…”

    **Actually, your customer IS your employer. Particularly if you are self employed. ** – no customer, no paycheck.

    But, Clay has it exactly right, find better customers that find value in the work you do, build trust and respect with them. And good riddance to the high maintenance penny pinchers that don’t value your services.
    In my business, 80% of my urgent work consists of babysitting customers that don’t know what they are doing, but they only consist of about 20% of our sales… so yeah.. neat.
    Would like to cut those customers out, and just sail smoothly with the ones that know their stuff… but I can’t yet, at least not until I get that stupid website up and running to find more work.

    Anyways, that was kind of a disjointed rambling, but it is something that I am currently running through my head. Always helpful to write it down.

    September 21, 2015
    • Clay Butler

      Thanks for the input. Client relations and expectations is so vital to being a successful designer yet there is so little discussion about it. I don’t know why. Maybe it’s not as sexy as talking about the latest Photoshop trick.

      September 22, 2015
    • Hi Adam H.
      I am a designer, but I think I can empathize with your frustration. I have design print most of my career but recent’y transitioned into web. In an attempt to try to be helpful to you, I’ll attempt to try and articulate this: Websites are a different animal than print pieces. They are infinitely editable by nature. Especially with modern websites designed responsively for today’s browsers. elements like embossed buttons with rounded corners and a drop-shadow, which used to nave to be executed with a photoshop gif, can now be done totally with CSS code–making it easily editable at any point in time by another set of hands.
      I think the most important thing, for you as the client, is to retain control of your hosting account. You definitely don’t want some “designer’ holding your web domain hostage.
      The first step a designer should take is to understand your needs, goals, and your industry in order to make a design that is first effective, and second aesthetically pleasing.
      Ideally, especially for you, they should set up your site in a way that makes it easy for you to upload content, like in WordPress or some other content management system.
      HOpe this rant was helpful.

      February 6, 2016
  • olivia

    maybe it is out off topic, but can i ask you how to answer polite way to another member of graphic design asking for tutorial. Not because i don’t want to but it take forever and not easy to explain i have spend double time to make tutorial instead i can do another project,…im afraid if i dont aswer it in right way, another member think i stingy or dont want to share,make me doubt to post another project in that group,…i really like the group because i can see another idea and make my idea more refresh….help me please

    February 11, 2016
  • Canute

    Hey guys I need some advice from you. I had hired a designer to design a product label and logo. He has delivered the logo vector file and low res jpeg image of the product label, which gets distorted when I tried to scale the image. I need to make periodic changes to the manufacturing date, batch number etc, on a regular basis, and I have two different label sizes, small and large. Unfortunately the designer refuses to give the layered psd file, which I need to make changes to the label contents as mentioned earlier. For the psd he is demanding a 10% stake in the company, for no other additional ongoing involvement, which I feel is totally unfair. Now the designer does not pick my phone call. What should a client like me do now?

    April 20, 2016
    • Canute

      The designer has not been picking my phone call after I patiently explained to him what stake in a company meant, from a business perspective. I am stuck with a low res jpeg image that I just cannot use. I tried editing the same with sketch and it ends up looking really bad. Kindly advice me peeps!

      April 20, 2016
    • Clay Butler

      I’d sue him in small claims court if he’s in your state. You paid him to deliver a large and small print ready label design I assume. He’s extorting you. You could also just tell him to go to hell and hire someone else to recreate a proper file from the low res jpgs. Considering his behavior I doubt his design was anything particularly difficult to reproduce. No serious, seasoned professional would act like this.

      April 22, 2016
      • Canute

        Thanks for your reply Clay. Will look into doing that. Not sure how it will turn out, considering no written agreement with the designer.

        May 17, 2016
      • Canute

        Yes he is extorting me, feels more like blackmailing!

        May 17, 2016
  • Fayyazb

    Very very good discussion and insight guys! Thank you for sharing your thoughts!

    One thing I don’t know and worries me being new to freelance design is I just need to know how you show Rough Designs or Design Options for a project to the Client?
    Do they keep them to think over it or show it to the team?
    How do you avoid that they don’t take your design and go somewhere to re-produce for a cheaper rate?

    What is the professional and safest process for this?

    Really would appreciate your inputs.

    Thank you.

    March 15, 2017
  • ChicagoDesigner

    After reading almost all the comments, my view on this issue remains the same as before.
    As a freelancer, all my contracts are the same, you’re hiring me to give you a final design. If you want the master file, there is an additional charge and you do with it whatever you want.
    Clients will always try to get cheaper work, remember that money (profit) rules the business world.

    April 3, 2017
  • So sad story..But many of the time and many of the person are blackmail there client..But the person didn’ t know what are she doing…So first knowing the company or designer that you are chose your work partner…….

    April 9, 2017
  • Argos

    I don’t send source files. I tell the clients from the very beginning that I will give them the final design in JPEG or PDF. I once gave a client the PSD file and then started seeing my design all over the place with modifications. The client took the PSD to a print shop and they kept it or made a copy and started using it as a template for their own use. It was not a very complex design so it didn’t bother me as much, but I’m sure as heck not doing that anymore. If the clients say they’ll want the source files I tell them to go look for another designer. If you’re good you won’t have problems getting new customers.

    August 11, 2017
  • I have always stated that any Creation file is my intellectual property and the pdf export is what I am selling. If the customer want to buy the layered file I offer it seperatly as a custom template, which will cost more.

    January 19, 2018
  • Artemis

    Does anyone have a way to estimate how much the “buyout” would be? For instance, a Sketch file for a couple mobile screens? For web though, does it just go without saying that you are providing layered assets? Ahhh!

    February 14, 2018
  • VTC

    Thanks for the insightful post, and comments as well. I’m only starting this freelance business for two years and there are some instances that the clients asking for source files.

    For the record I’m an animator. Typically I would ask for additional charges for giving my master files. But there are certain situations that got me trapped, where the client asking for master files after the job is done when it’s not part of our deal. I know that I should’ve written all of it early on a contract, but I’m kind of afraid that I’m being too rigid and restrictive, since most of my clients are individual entity. So most of time I am working based on trust that the client will not screw me over. Thankfully until right now it’s a rare occurrence and I have several instances where the client is coming back at me or refer me to their peers.

    There’s one time I hand out my source files, the client apparently used it as a template to make their next project, handled by different person. I can tell they are using my project as a base. But it did not bother me that much. I was only tasked to rig a model from asset they provide, so I did not really hold a copyright on the work.
    Judging from their new project, it looks like the client does not care much about quality from work I provide.

    So after I read this post and comments, I come to conclusion that if you want source files where I do 100% of the work, I’ll charge you more for that and you’re free to do whatever with it. With exceptions if the work materials is provided by client.

    September 16, 2018
  • Joey

    Having been around design for various mediums over the years, from strict graphic design, print to web, interactive concept to production pipelines & data creations (+visualisation)… My contracts now cover most scenarios or types of end product.

    Firstly, the biggest deciding factor in if you should or shouldn’t hand over files is the type of arrangement you have with the client:

    Work-for-hire: You’re basically an employee and generally should hand over the files. In that as per of set up, you’ll likely be charging more for your skillsets than a salaried employee, be working with multiple companies/clients and your value is based on your broad knowledge, specialised skills and most of all, your time.

    Contractor: You’re drafted in to work on/produce a set amount of deliverables. Those deliverables are the variable that dictate if you should hand over master files or not… Was your deliverable a print campaign, or a digital asset bank with the goal of those being focussed on them being updated in house, both could be considered as the same thing (especially the master PSD for example), however the approach would vary massively, as would the experience level to design for unforseen variables, building a master with smart object layers rather than embedded outline fonts and so on. The price would also be much higher for the later compared to the former, but ultimately your deliverables would be the template instead of the print ready version.

    Supplier: You’re essentially giving them a deliverable, not in any way source files. So just as buying one stock image license, they’re paying for the deliverable in whatever form that is, and one of them. You don’t get every photo from a collection when you buy a stock image license, likewise they don’t get multiple variations or the ability to generate multiples of them (in house, outsourced or otherwise).

    So from those 3 main working relationships, the expectations should be clear from the start. Them from what to expect from you, and you from what they are aiming to achieve. I personally set a buyout of 3x the deliverables production fee depending on the project, it’s uses and potential variables (what it’s worth to the client). That’s for strict graphic work that is and will always be 2D in nature. Where source files involving 3D, rigging, data capture like motion capture or animation files, models, camera rigs and so on, this is a much different ball park. One single model can be used to generate multiple variations, infinite illustrations (model + new camera angle = new illustration), Rigged character?… Rigged Model + New camera angle + new pose = even more variables, especially when taking into account new colour and skinning of that pose etc… So in effect those master files are worth a hell of a lot more than a static graphic file is. Add to that the technical limitations of working in a mostly pixel based export for video but a client who has print needs and you definitely run into the whole “retaining the quality and integrity of the output” issue that clients don’t really know of which is where restrictions on final uses come into play… Anyone fancy having their work that was done as a 1080p deliverable scaled up & printed? I highly doubt it. So from that end alone a client should not only be restricted on having access to masters, as well as the potential for them going elsewhere, especially when the same assets for creating animated footage can be converted into game assets and so on.

    Being clear with clients up front and making sure they’re clear with their intentions is always a huge help.

    One thing to always remember is… Your copyright, your say so unless you sign it away (in which case, charge for it), we as a creative community need to not devalue it as an industry by not realising the busy Jess worth of our output. If in doubt, learn about licensing and read through licenses to see how they work.

    December 1, 2019

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