1An offer connects a problem to a deliverable

Offer is a description of the work, audience, and terms of engagement.

Rita, a 36-year-old creator, talks with Celso, a 56-year-old artisan.

Estúdio Linha is your fictional case study.

The Bruma brand needs to present a blue vase in short-form content.

Four possible paths are custom services, licensing your own materials, paid referrals, and your own product.

Each requires production, rights, and a way to find interested people.

The main project in this course is a creative service.

There is no promise of income or a guaranteed first client.

Rita chooses a service she can demonstrate with files.

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2The service needs to fit your capacity

Choose something you can already produce: a product video, a demonstration with an identified character, or a series of images.

If you do not have this foundation yet, complete the production courses in the series.

This course organizes the work needed to present a proposal; it does not teach every generator from the beginning.

Write the audience, need, and deliverable.

Example: small studios; show the shape of a piece; one 15-second vertical video.

A proposal does not guarantee sales.

The INEMA course is free; studying service monetization does not mean selling these courses.

Celso wants to understand the deliverable before discussing tools.

3Check the decision against its use

Choose a service you know how to produce for a concrete need.

Celso uses the worksheet to check: deliverable: 15-second vertical product video.

1The initial request rarely includes everything

Celso asks for a beautiful video for Bruma.

Rita asks where it will be used, which object needs to appear, and what the viewer should understand.

The fictional answer is: the studio's profile; a blue vase; shape and texture.

That guides the script, framing, and duration.

Write: I make short product videos for studios to present the shape and details of their work on social media.

This sentence describes your contribution.

Increasing sales also depends on the offer, distribution, service, and other factors.

Do not turn a client's intention into a performance guarantee.

Rita explains what the piece is for before mentioning the generator.

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2Start with how the client will use it

You can explain the tools later, when they affect price, rights, or quality.

Start with the deliverable and its usefulness.

Instead of listing models, show an example and explain what you checked.

Transparency about AI is still necessary; simplifying does not mean hiding the process.

For practice, write two versions of the offer and read them as someone who has never used your editor.

Choose the clearer one.

If there is no real client, use the fictional case and label it as a simulation.

You do not need to send any sales message to complete this lesson.

Celso identifies the information the audience needs to see.

3Check the decision against its use

Describe the piece and its purpose, separating the deliverable from the business result.

Celso uses the worksheet to check: limit: sales and reach are not guaranteed.

1Scope describes the contracted work

Record quantity, duration, format, files, revisions, and timing.

In this example: one 15-second vertical video, MP4, one round of adjustments, and a short caption.

One round gathers comments into a single list.

It does not mean unlimited changes until someone gives up.

Define what the client provides: product references, accurate information, and script approval.

Also list exclusions such as on-site filming, translation, and paid ads.

The timeline starts after materials are received and the planned stage is approved, as agreed.

Rita defines what a revision round includes.

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2The process reduces questions before work begins

Break the process into script, reference, first version, and revision.

At each stage, say what will be approved and by whom.

A product change after the script may require a new estimate.

Record this limit in clear language; do not hide terms in the fine print.

For this exercise, fill in the scope for the Bruma case.

This is an exercise, not a complete contract.

For a real engagement, adapt obligations, rights, payments, and applicable rules with appropriate guidance.

Do not send a proposal as final while essential fields are still open.

Celso knows when approval is needed and which materials to provide.

3Check the decision against its use

Define deliverables, rounds, dependencies, and exclusions before preparing a quote.

Celso uses the worksheet to check: exclusions: filming, translation, and paid media.

1Your cost needs to include your own work

Fictional example: six hours at R$ 60 add up to R$ 360.

Add R$ 90 in direct expenses and R$ 150 in allocated fixed costs.

The base is R$ 600.

The hourly rate is an exercise assumption, not a professional minimum or a Brazilian average.

One way to plan an hourly rate is to divide your desired monthly pay by the hours you can actually bill.

R$ 2,400 divided by 40 hours comes to R$ 60.

Sales, study, and administrative hours also take up time in your schedule.

Include fixed costs separately so they are not forgotten or counted twice.

Rita includes her work hours in the cost base.

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2Margin on price is different from markup on cost

In this simplified model, set aside 10% of the price for taxes and fees and 20% for margin.

Divide R$ 600 by 0.70: approximately R$ 857.14.

Adding only 20% to cost does not produce a 20% margin on the price.

The calculator shows the difference.

The percentages are illustrative.

Check your tax status, fees, and costs before preparing a real estimate.

The calculated remainder represents the result of this model only if all costs are included.

Use the exercise to check the math, without treating the simulation as personal tax guidance.

Celso distinguishes an exercise price from a real proposal.

3Check the decision against its use

Identify costs and divide by the share of the price left after allowances.

Celso uses the worksheet to check: simulated price: r$ 600 ÷ 0.70 ≈ r$ 857.14.

1An advertised price is a dated observation

Research on September 25, 2026 found distinct public offers.

Nicolly Braga advertises R$ 199 for one UGC video up to 60 seconds, two photos, and three months of usage.

Interagilis advertises R$ 250 for a 15-second avatar video with script and editing.

The links are in the workbook.

These ads do not prove actual sales, quality, or an average market price.

UGC is content in a user's voice; a personal testimonial needs to be true.

A synthetic avatar must not pretend to be a human with real experience.

A tool credit service is also not equivalent to complete production.

Rita checks what each price includes before comparing them.

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2Compare purpose, production, and rights

For product ads, demonstrations, cinematic pieces, and avatars, record duration, quantity, script, revisions, rights, and dependencies.

Mark an item as not provided when the page leaves it out.

The workbook includes a third offer and notes on limits to comparison.

Use these prices only to ask questions and put a proposal in context.

Calculate your own costs before negotiating.

Do not convert a foreign price list to reais and present it as Brazilian research.

For this exercise, compare three ads in the workbook without contacting providers or recommending a hire.

Celso sees that duration alone does not describe the full deliverable.

3Check the decision against its use

Compare scope and rights, keeping the date and missing details visible.

Celso uses the worksheet to check: limit: the sample does not represent a market average.

1Usage rights need to appear in the agreement

Record who may use the material, which material, channels, territory, term, and whether it can be changed.

Organic use means posting without paying to boost distribution.

Boosted posts and paid ads are paid media.

In the Bruma exercise, the proposal allows organic use on the brand's channels for 30 days.

Paid media and exclusivity are excluded until they are negotiated.

Brazil's Copyright Law addresses forms of use and transfer of rights.

Buying a copy does not automatically transfer all economic rights.

Rights assignment contracts require care about form and scope.

Use the official source for general guidance and review a real agreement with a qualified professional.

Rita checks licenses before offering exclusivity.

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2You can offer only rights you hold

Check permissions for images, voices, music, fonts, and AI services used.

Do not assume permission to clone a person’s voice just because they consented to a recording.

Describe the purpose, term, and any revocation option according to the agreement and applicable law.

Do not promise exclusivity on material your license does not allow.

For this exercise, fill in the usage worksheet for the fictional case and identify open questions.

It organizes questions; it does not replace a custom contract.

If a real person is involved, obtain the required permission before using their image or voice.

A fictional brand makes it easier to study without inventing a client.

Celso knows that a paid ad is different from an organic post.

3Check the decision against its use

Define the usage and check whether all elements allow the deliverable.

Celso uses the worksheet to check: check: image, voice, music, and tools.

1The selection should match the offer

Choose three pieces of your own, study work, or client work you have permission to show.

For product video, prioritize pieces with a clear object, detail, and ending.

A portrait series may look good, but it does not by itself show that you provide this service.

Label studies as your own and fictional.

Do not invent a client, published campaign, or sales result.

Open the final files outside the editor.

If a study is still only a script, mark it as pending.

The final portfolio for this course requires three existing pieces.

Rita chooses work that shows the service being offered.

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2The file needs to be ready to view

Use an MP4, images, or pages, depending on your offer.

Check the beginning, ending, readability, sound if any, and credits.

Keep the source files too.

If a piece is weak, plan one small fix.

Do not include work just to reach a larger count.

You can use work from previous courses.

If you do not have three pieces yet, set aside extra time to make them before Lesson 8 practice.

This lesson’s short practice selects pieces and identifies gaps.

You can prepare the list, but missing production remains pending.

Celso can tell a study apart from a commissioned campaign.

3Check the decision against its use

Choose three relevant pieces, check them, and label them honestly.

Celso uses the sheet to check: evidence: existing file and review.

1Three lines show your reasoning

Use the problem, decision, and evidence.

Fictional example: show a vase’s shape; use a simple background and short movement; an MP4, 15 seconds long, reviewed.

The last line describes a file and how it was checked.

You do not need to invent campaign metrics to look professional.

Also describe your contribution: script, generation, editing, or direction.

If someone else contributed, credit their part.

Name the piece by its purpose, such as product introduction, instead of a tool code.

You can keep the technical name in your internal folder.

Rita describes her contribution without erasing collaborators.

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2Short context still needs to be accurate

A piece made with AI can still involve good human decisions.

Explain what those decisions were, and do not hide the origin when it matters.

Avoid calling it a real product photo if the object was invented.

For Bruma, the introduction is a study with a fictional brand and product.

Write a caption for each selected piece.

Read it alongside the file.

If you cannot check a sentence, remove or revise it.

Finish with three captions tied to the pieces, not a generic description that could go with any image.

Celso understands the purpose of the video before asking about the tool.

3Check the decision against its use

Describe the problem, decision, and checked file in three lines.

Celso uses the sheet to check: line 3: evidence and study limits.

1Each day needs a concrete outcome

Use seven steps: choose an offer, select pieces, fix the first, fix the second, fix the third, assemble the presentation, and review it.

Spread the steps across dates that work for you.

Seven days is an organizing cycle, not a guarantee that everything will be produced by then.

If the three pieces are ready, use the correction days to review them and record “keep” where appropriate.

If you need to create work from scratch, adjust the calendar to the actual effort.

This course estimates 12 to 18 hours of study and organization when the pieces already exist.

New production takes extra time.

Rita adjusts the calendar when production is missing.

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2The presentation can start simple

Use an editor you know to make a folder with three files and a presentation PDF.

Include the offer, three captions, contact details, and labels for the studies.

You do not need to buy a website.

Before sharing, open the PDF and files on a phone.

The short practice sets dates and criteria.

The assembly must happen before the final deliverable.

Use planned, in progress, needs review, and ready to distinguish statuses.

The workbook includes a seven-step sheet.

Do not mark it ready just because the date arrived.

Celso receives a presentation he can open on his phone.

3Check the decision against its use

Link each step to an outcome and check the files before marking it complete.

Celso uses the sheet to check: status: ready only after review.

1The test asks what people understood

With their agreement, show the first page for ten seconds to someone who does not know your project.

Then ask: what do I offer, who is it for, and what is the next step?

Write down the answer without correcting the person during the attempt.

Do not collect unnecessary personal information.

If no one is available, review it yourself and note the limitation.

Read only the title, main image, and contact details.

The so-called blur test can be a metaphor for simplifying the visual design.

You do not need to blur the screen or believe it predicts a contract.

Rita writes down the answer before explaining her intent.

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2Fix the information that was missing

If the person understood the video but not the audience, adjust the offer statement.

If they noticed a nice effect but not the service, reorganize the headline.

If everything is clear, record “keep” with all three criteria.

Do not invent a problem to fill in the checklist.

Repeat the review after an important change.

Compare answers without treating one person as a representative sample of the market.

Finish with a clarity record and a decision.

A complete sales test depends on real conversations and contracts.

Celso looks for a clear deliverable, not a list of features.

3Check the decision against its use

Check the service, audience, and next step, while noting the limits of the observation.

Celso uses the sheet to check: decision: adjust or keep based on criteria.

1Each concern needs different evidence

List quality, timing, rights, and communication concerns.

For quality, show a piece you have reviewed.

For timing, explain the steps and dependencies.

For rights, state usage limits and permissions.

For communication, define who approves and how feedback is collected.

Do not answer every concern with excessive confidence.

If a feature has not been tested, say it needs a pilot.

If the product needs exact details, use a real reference and careful review.

A generator may change shape, text, or proportions even with instructions.

Rita offers a limited pilot for a feature that is still uncertain.

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2A pilot also needs a defined scope

A pilot is a smaller project used to evaluate a solution.

Define the piece, length, revision, price, and usage.

Do not call unlimited free work a required test to win a client.

A discount makes sense only if you know your costs and choose the terms intentionally.

For this practice, list four concerns and your answers for the Bruma example.

Use a document, example, or verifiable step.

If an answer depends on missing information, mark it pending.

The goal is to reduce uncertainty with evidence, without promising that nothing will go wrong.

Celso knows how to point out a change to the product.

3Check the decision against its use

Answer each concern with evidence, a step, or a verifiable limit.

Celso uses the sheet to check: pilot: smaller scope and clear terms.

1Two selections answer different questions

The client-ready selection shows relevant, reviewed work with context.

The lab selection shows attempts and discoveries, labeled as studies.

You can keep both in one folder or presentation as long as the labels make the difference clear.

In the example, three product videos support Estúdio Linha’s offer.

An abstract paper experiment can stay in the lab.

You do not need to hide the study.

Just make sure the client does not mistake a test for work approved for commercial use.

Rita keeps experiments without presenting them as commissioned deliverables.

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2The title should explain purpose and status

Use “Product introduction — reviewed personal study” or “Light exploration — experiment.”

Add the three lines from Lesson 8.

Remove names that make sense only inside the generator.

An internal code can stay in the file, but the presentation needs to speak to a potential client.

Also check permissions before showing client work.

A delivered project may have sharing restrictions.

For this practice, label your materials and choose which three go in the main presentation.

Keep the status of the others accurate.

Celso first finds examples of the service he is looking for.

3Check the decision against its use

Organize the main selection and lab by purpose, status, and permissions.

Celso uses the sheet to check: names: purpose and status are clear.

1Qualification means checking whether there is a fit

Ask what the deliverable is, where it will be used, the deadline, and who approves it.

Ask for references they have permission to share and the available budget range.

If they do not know the budget yet, explain what information you need to estimate.

Do not use someone’s lack of knowledge as a reason to shame or pressure them.

Sample reply: thanks for the context. To suggest something workable, I need the quantity, length, channels, and preferred date.

Is there an expected budget range?

With that, I can send an initial scope.

You can draft the message without sending it in this activity.

Rita uses questions to avoid guessing when preparing an estimate.

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2A meeting should answer a specific question

If the scope is clear in writing, a call may not be necessary.

If a decision is complex, agree on the length and agenda.

Then record what you agreed.

A meeting without a set budget can help clarify the scope; the limit depends on your process.

Classify the request as a fit, needs more information, or outside the scope.

Do not judge someone for being unable to hire you now.

Record a professional reason, such as an incompatible deadline.

For the practice, write a reply to the fictional case and choose the next step.

Celso understands what needs to be decided before scheduling a call.

3Check the decision against its use

Gather the minimum information and agree on a useful next step.

Celso uses the sheet to check: next step: proposal, question, or respectful decline.

1A package should vary to meet a need

Teaching example: A has one 15-second video and one revision round; B has three videos and two rounds; C has five videos and two rounds.

All are vertical, for organic use over 30 days.

The larger options serve a series; they do not promise more sales.

Define whether the script, voice, and cover are included.

For the exercise, the script and authorized voice are included in all options; one cover per video is included in C.

Editable files, paid media, and translation are excluded.

One revision round is a consolidated list of changes within the approved scope, not a complete new concept.

Rita calculates the extra work for each piece.

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2Each package needs its own cost

Do not multiply the lowest price without considering the work.

A series can reuse planning, but each piece still needs review.

In the simulation, A costs R$ 600; B, R$ 1,170; C, R$ 1,740 before percentage reserves.

The calculator shows prices using the same assumptions.

The three cost bases are examples, not market prices.

Adjust hours, expenses, and capacity to your operation.

For this practice, fill in the three options with at least one useful difference.

Avoid making one option artificially bad just to push another.

Celso compares what he will receive without relying on category names.

3Check the decision against its use

Show useful scope differences and calculate each option.

Celso uses the sheet to check: C: five videos, covers, and two revision rounds.

1Five rules make a negotiation easier to check

Know the cost, limit revisions, charge for scope changes, separate added rights, and check capacity.

These rules organize decisions; they do not guarantee profit.

A rush deadline may require rescheduling or declining.

Do not add a fee without explaining the work or condition involved.

If the available budget is lower, offer a shorter piece, fewer versions, or an initial step.

Keep a minimum quality level and accurate labeling.

Do not remove rights review or hide problems to lower the price.

The client needs to understand what changed in the new proposal.

Rita shows the effect of a discount before accepting it.

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2Describe any added work

Example: a horizontal version requires reframing, a text check, and a new export.

Estimate that work and agree on the price before doing it.

A license for paid ads also requires checking permissions and negotiating usage.

Do not treat every extra request as the same kind of cost.

For the practice, compare the original proposal and an alternative.

Record quantity, rights, revisions, timing, and price for both.

If you choose a discount, show its effect on the margin and explain why.

You do not have to charge less on your first job as a rule; decide based on costs and strategy.

Celso knows what will be removed from the smaller option.

3Check the decision against its use

Offer a different scope and record how it changes cost and price.

Celso uses the sheet to check: comparison: original and alternative can be checked.

1An existing conversation provides context

Start with someone who knows your work or a business whose contact channel invites proposals.

Explain why your service may be relevant.

Do not invent a friendship, referral, or prior interest.

A short message should make it clear who you are and let the person decide whether to continue.

Sample draft: Hi, I’m Rita, and I make short product videos.

I saw that your studio is showing a new collection.

I have an original study presenting a product’s shape.

May I send you the example so you can decide whether it is relevant?

Use this context only if it is true.

Rita does not invent a referral to get a reply.

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2Public data still requires care

Do not buy lists, collect personal contact details in bulk, or send client data to an assistant without a need.

Brazil’s ANPD advises evaluating purpose, necessity, and people’s rights when processing data.

Commercial interest alone does not authorize every use of personal information.

For this practice, prepare three messages with verifiable context or a fictional recipient.

Do not send them to complete the lesson.

Any real outreach must respect the channel, applicable rules, and requests to stop.

Keep only the minimum information needed to organize the conversation.

Celso can decline without receiving automated follow-ups.

3Check the decision against its use

Prepare relevant messages with an accurate identity and room for refusal.

Celso uses the sheet to check: limit: minimal data and respect for refusal.

1The number is for writing practice

The workbook has twenty original situations with a message structure.

They cover introductions, replies to requests, authorized referrals, agreed follow-ups, and refusals.

They are not a list of people to contact.

Read them all and choose three to adapt to your service.

A first-contact message can include who you are, a true observation, a relevant example, and a short question.

A reply to a request can go straight to the scope.

Follow up only in an appropriate context. Do not treat silence as consent or persist after a refusal.

Rita adapts the example to the observed problem.

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2Personalization takes more than a name

Changing the name in a generic message does not make it relevant.

Point to an observable need and a suitable piece in your portfolio.

Do not claim you reviewed an entire brand if you only saw one page.

Do not use fake praise or promises to multiply sales.

For the practice, organize the twenty templates in your library and write three original versions.

Mark all of them as drafts.

The final project requires preparing an approach; sending it or getting a reply is not required.

No system in this course sends messages.

Celso receives a simple question when the conversation makes sense.

3Check the decision against its use

Use different situations to write accurate, relevant messages.

Celso uses the sheet to check: status: prepared, with no sending or invented replies.

1The record tracks the decision; it does not monitor the person

Use minimal professional identification, context, date, status, and next step.

Useful statuses include draft, awaiting reply, information received, proposal, and closed.

Do not record sensitive data or personal opinions about the contact.

The purpose is to track the work.

If someone asks not to receive more messages, mark the conversation closed and respect that.

A negative reply is not an invitation to overcome an objection at any cost.

When someone is interested, answer their question and agree on the next step.

Do not send large attachments without a reason.

Rita records what they agreed so she does not repeat requests.

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2A follow-up needs a reason and a limit

If you agree to follow up on a date, record that agreement.

Example: I will send the estimate on Thursday after I receive the references.

If there was no agreement, consider whether one relevant follow-up fits the channel.

Do not turn the practice into an automated series of reminders.

Fill in three fictional rows: a draft, a proposal in progress, and a closed conversation.

Write the next step or none, as appropriate.

This activity does not require real contact.

Keep practice data labeled as fictional.

Celso can close the conversation with a clear reply.

3Check the decision against its use

Record the actual status and respect the agreed next step.

Celso uses the sheet to check: next step: a verifiable agreement or none.

1The tool does not replace creative direction

Whoever arranges movement, text, and sound makes communication decisions.

AI can create materials, but you need to check continuity, the object, hands, and voice.

Open a piece of your own outside the editor.

Watch it all the way through once, then inspect the critical points.

For the Bruma vase, check the rim, base, color, and proportions.

A good-looking image does not authorize changing the product being sold.

If the piece uses a character, check identification and permission for the references.

Do not present a synthetic face as a real, satisfied client.

Rita checks the file before explaining her price.

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2The review needs to lead to a decision

Choose one of three statuses: approved, fix, or redo.

Record the time in the video and describe the defect.

Example: at four seconds, the rim changes shape.

If you found no defect, record the criterion you checked.

Do not invent a fix just to fill in the sheet.

This lesson uses an existing piece.

If you do not have one, first create it in the relevant production course.

The ten minutes cover the review, not generation and editing.

A different finish may be an aesthetic choice; false information about the product needs to be corrected.

Celso checks whether the vase shown matches the product.

3Check the decision against its use

Review the technical criteria and fix problems that change the information.

Celso uses the sheet to check: decision: approved, fix, or redo.

1The purpose guides whether a face is needed

A video without a presenter can show details, text, and authorized narration.

An avatar can explain a process if its nature is clear.

Choose based on the message and available rights.

Do not simulate a personal testimonial or an experience that did not happen.

For Bruma, a vase video can do the job without a character.

An explanation of maintenance may need narration.

Record the reason for your choice.

A beautiful or realistic look does not replace product accuracy, clarity, and disclosure of synthetic material.

Rita chooses the format that communicates the needed detail.

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2Check account and client terms separately

Use an existing account when its audience and history fit the new work.

A new account can keep separate projects apart.

Do not buy aged accounts as a promise of reach.

Check platform rules and authorized access before producing for a brand.

Larger brands may have their own requirements for AI, vendors, confidentiality, and approval.

Ask in writing what the project terms are.

Do not assume that every brand accepts or prohibits the same things.

This practice records questions; it does not contact companies or create accounts.

Celso identifies who can approve the brand’s content.

3Check the decision against its use

Choose the format based on its use and check account and client rules.

Celso uses the sheet to check: client: AI terms and written approval.

1Your activity description needs to match the work

The official portal lists independent video editor among occupations allowed for MEI.

That does not make every creative service automatically eligible.

Describe your activities and check the current terms with an accounting professional.

Do not open a business or choose a tax classification based only on this lesson.

If you are required to issue an invoice, check the procedure that applies to your situation.

For MEI service providers, check the national NFS-e rules.

Official sources are listed in the supplementary material.

The practice prepares questions; it does not calculate taxes or replace professional advice.

Rita separates an accounting question from a script decision.

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2The agreement and payment should be verifiable

Record the parties, scope, revisions, price, payment steps, deadline, and permitted use.

A teaching proposal is not a complete contract.

For a real contract, review rights, cancellation, and responsibilities with suitable guidance.

Keep approvals and receipts organized.

If you agree on Pix, check that the payment appears on your institution’s statement.

A screenshot of a receipt is not enough to confirm that funds arrived.

Use official bank channels if you have questions.

No payment is made or requested in this lesson.

Celso receives clear terms before approving the service.

3Check the decision against its use

Bring your activities and project terms to check which obligations apply.

Celso uses the sheet to check: payment: terms to define; check the statement after payment, if any.

1The proposal starts with the problem and the deliverable

Open the workbook template.

Write the audience, need, service, and relevant example.

Present the three packages with useful differences.

Include quantity, duration, format, revision, usage, and calculated price.

Identify all simulated amounts as examples.

Add required materials, the person approving, and the start point for the timeline.

In the Bruma case, timing depends on the references and expected approval.

Set the proposal's validity period and payment milestones only when you can support them.

Don't make up a date when you're available.

Rita makes clear what she needs to receive before she can begin.

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2Open fields need to stay visible

Third-party rights, business classification, and client requirements may need confirmation.

Mark each open item before presenting a final version.

Don't turn this study template into a ready-to-sign contract.

It organizes the conversation and the review needed.

Read it as someone who has never spoken with you.

Can they tell what they receive, what they provide, and how they approve it?

The proposal needs to make the options easy to compare.

For this lesson, save a local draft.

You don't need to send it or get approval to finish the exercise.

Celso can compare the three options without guessing what's included.

3Check the decision against its use

Bring scope, calculation, and terms together in a proposal that identifies open items.

Celso uses the worksheet to check: status: study with open items or revised version.

1Each piece needs to exist and be authorized

Gather three reviewed files of your own.

Use clearly labeled studies when there is no real client.

For each piece, record the problem, visual decision, your contribution, and available evidence.

Don't claim sales or reach for an exercise.

Check that you have permission to show other people's work.

Create a PDF with an introduction, offer, three pieces, and professional contact information.

For video, use a cover image and an accessible link to the file, according to your chosen visibility setting.

Check the links outside the editor.

Don't include private information or material without permission.

Rita opens the files outside the creation tool.

Worksheets, research, and proposal · Budget calculator · 20 outreach examples.

2The short review happens after production

Open the three files and the PDF on your phone.

Check readability, identity, rights, and access.

The ten minutes for this exercise are for this review.

Producing or correcting the pieces takes additional time.

If a file is missing, leave the deliverable marked as pending.

You can create the PDF with a tool you already know.

The Figma course offers one layout option.

A simple, readable presentation is enough.

Also save a copy of the originals and permission worksheet.

The deliverable requires real files, not just a completed template.

Celso can find each example without needing extra instructions.

3Check the decision against its use

Open three real pieces and the PDF, checking presentation and access.

Celso uses the worksheet to check: review: readability, links, and permissions.

1The folder brings together evidence of the work

Check the offer in one sentence, scope worksheet, calculation with assumptions, and three packages.

Add a portfolio with three files and a PDF, a seven-day plan, and a library of twenty reviewed approaches.

Keep three original drafts and the fictional follow-up record.

Review questions about business setup, permissions, and terms that are still open.

An open item can prevent a contract even when the study materials are complete.

Record that difference.

Do not mark a proposal as sent, a client as approved, or a payment as received unless it happened.

Rita separates completed preparation from future negotiation.

Worksheets, research, and proposal · Budget calculator · 20 outreach examples.

2The next step fits your schedule

Choose one action: correct a piece, confirm a term, ask someone to review the portfolio, or respond to a legitimate opportunity.

Set a date and a completion criterion.

Real contact is optional and requires appropriate context.

This course does not send messages or promise a response.

Compare the materials with the original offer.

Can you explain the service, cost, and limits more clearly?

Record one concrete change.

The course ends when the preparation has been checked.

Negotiation and commercial execution remain future work based on real situations.

Celso understands the proposal and knows which terms still need confirmation.

3Check the decision against its use

Check the materials and choose an action without making up a client or revenue.

Celso uses the worksheet to check: next step: action, date, and verifiable limit.