folder structure
How to stop all the swearing when someone is away.
One of the biggest frustrations I’ve seen over the years crops up when an artist calls in sick and someone has to log onto their computer to continue their jobs… and cannot find files or linked images or the PSDs because of a folder structure (or lack of) which only the original artist can understand.
The solution to this is something that can start with an individual artist but should be adopted company wide… Adopt a consistent and organised directory structure to be used by all the artists.
If everyone keeps a “JOBS” folder in the SAME place on their computers and names all projects consistently (ie. DOCKET_NUMBER_Brochure) and then manages their assets within the job the same way – then switching artists, archiving and retrieval is made immeasurably easier.
For example, for a simple print production job, consider the following folder structure:
ARCHIVE: As the client makes major revision of the project, keep a legacy of older versions in here. Invariably, the client sometimes backtracks and if you have overwritten an earlier version you will find your self doing the work twice.
ART: A good place to keep all your Illustrator EPS and AI files.
CREATIVE DEV: When you are supplied creative files or if you created Low resolution prototypes, store them here for future reference. Treat this differently from the ARCHIVE as these files are not rejected versions but rather APPROVED CREATIVE from you or an art director.
IMAGES: Photoshop files. Separate your PSDs from your High and Low Resolution flat files.
SHIPPED FILES: I always like to store my COLLECTED or PACKAGED files for shipping to the printer or client here. These would include art and image files as well as fonts if necessary. Keeping a separate folder copy means you have a record of EXACTLY what you burned to disk in case any problems crop up.
SOURCE: Place Word docs, supplied jpegs and other non production source files here. I like to do this so that I have a record of what files and file formats the client sent me before I start manipulating the design.
So come up with your own version of this to suit your workflow and adopt it on all production machines, and the amount of swearing that accompanies an artist’s illness will decrease to tolerable levels.
I am sorry to say I cannot help you with the amount of swearing that usually accompanies a client’s 23rd revision – today – to his brochure.
david
