ef

Daughter's mission to give people CPR skills and access to defibrillators

Kenilworth woman's campaign to give people the best chance of surviving a cardiac arrest.




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Council shaves £17.5m off budget deficit

Money saved after placing service commitments on hold has helped cut the expected deficit to £9.5m.




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U-turns and LinkedIn rants plague fire chief search

The latest candidate for the post has withdrawn just days after the appointment was announced.




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Norwich must 'crack on' despite defeats - Duffy

Norwich City defender Shane Duffy urges the team to learn quickly and "crack on again" following two defeats away from home in the space of four days.




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Introducing TODS – a typographic and OpenType default stylesheet

Introducing TODS, an open source typography and opentype default stylesheet. One of the great things about going to conferences is the way it can spark an idea and kick start something. This project was initiated following a conversation with Roel Nieskens (of Wakamai Fondue fame) at CSS Day, where he demonstrated his Mildly Opinionated Prose Styles (MOPS).

The idea is to set sensible typographic defaults for use on prose (a column of text), making particular use of the font features provided by OpenType. The main principle is that it can be used as starting point for all projects, so doesn’t include design-specific aspects such as font choice, type scale or layout (including how you might like to set the line-length).

Within the styles is mildly opinionated best practice, which will help set suitable styles should you forget. This means you can also use the style sheet as a checklist, even if you don't want to implement it as-is.

TODS uses OpenType features extensively and variable font axes where available. It makes full use of the cascade to set sensible defaults high up, with overrides applied further down. It also contains some handy utility classes.

You can apply the TODS.css stylesheet in its entirety, as its full functionality relies on progressive enhancement within both browsers and fonts. Anything that is not supported will safely be ignored. The only possible exceptions to this are sub/superscripts and application of a grade axis in dark mode, as these are font-specific and could behave unexpectedly depending on the capability of the font.

In order to preview some of the TODS features, you can check out the preview page tods.html and toggle TODS.css on and off. (This needs more work as the text is a bit of a mish-mash of examples and instructions, and it's missing some of the utility classes and dark mode. But that’s what open source is for… feel free to fork, improve and add back into the repo.)

Walkthrough of the TODS.css stylesheet

You can download a latest version of the stylesheet from the TODS Github repo (meaning some of the code may have changed a bit).

Table of contents:

  1. Reset
  2. Web fonts
  3. Global defaults
  4. Block spacing
  5. Opentype utility classes
  6. Generic help classes
  7. Prose styling defaults
  8. Headings
  9. Superscripts and subscripts
  10. Tables and numbers
  11. Quotes
  12. Hyphenation
  13. Dark mode/inverted text

1. Reset

Based on Andy Bell’s more modern CSS reset. Only the typographic rules in his reset are used here. You might like to apply the other rules too.

html {
  -moz-text-size-adjust: none;
  -webkit-text-size-adjust: none;
  text-size-adjust: none;
}

Prevent font size inflation when rotating from portrait to landscape. The best explainer for this is by Kilian. He also explains why we still need those ugly prefixes too.

body, h1, h2, h3, h4, h5, h6, address, p, hr, pre, blockquote, ol, ul, li, dl, dt, dd, figure, figcaption, div, table, caption, form, fieldset {
  margin: 0;
}

Remove default margins in favour of better control in authored CSS.

input,
button,
textarea,
select {
  font-family: inherit;
  font-size: inherit;
}

Inherit fonts for inputs and buttons.

2. Web fonts

Use modern variable font syntax so that only supporting browsers get the variable font. Others will get generic fallbacks.

@font-face {
  font-family: 'Literata';
  src: url('/fonts/Literata-var.woff2') format('woff2') tech(variations),
       url('/fonts/Literata-var.woff2') format('woff2-variations');
  font-weight: 1 1000;
  font-stretch: 50% 200%;
  font-style: normal;
  font-display: fallback;
}

Include full possible weight range to avoid unintended synthesis of variable fonts with a weight axis. Same applies to stretch range for variable fonts with a width axis.

For main body fonts, use fallback for how the browser should behave while the webfont is loading. This gives the font an extremely small block period and a short swap period, providing the best chance for text to render.

@font-face {
  font-family: 'Literata';
  src: url('/fonts/Literata-Italic-var.woff2') format('woff2') tech(variations),
       url('/fonts/Literata-Italic-var.woff2') format('woff2-variations');
  font-weight: 1 1000;
  font-stretch: 50% 200%;
  font-style: italic;
  font-display: swap;
}

For italics use swap for an extremely small block period and an infinite swap period. This means italics can be synthesised and swapped in once loaded.

@font-face {
  font-family: 'Plex Sans';
  src: url('/fonts/Plex-Sans-var.woff2') format('woff2') tech(variations),
       url('/fonts/Plex-Sans-var.woff2') format('woff2-variations');
  font-weight: 1 1000;
  font-stretch: 50% 200%;
  font-style: normal;
  font-display: fallback;
  size-adjust:105%; /* make monospace fonts slightly bigger to match body text. Adjust to suit – you might need to make them smaller */
}

When monospace fonts are used inline with text fonts, they often need tweaking to appear balanced in terms of size. Use size-adjust to do this without affecting reported font size and associated units such as em.

3. Global defaults

Set some sensible defaults that can be used throughout the whole web page. Override these where you need to through the magic of the cascade.

body {
    line-height: 1.5;
    text-decoration-skip-ink: auto;
    font-optical-sizing: auto;
    font-variant-ligatures: common-ligatures no-discretionary-ligatures no-historical-ligatures contextual;
    font-kerning: normal;
}

Set a nice legible line height that gets inherited. The font- properties are set to default CSS and OpenType settings, however they are still worth setting specifically just in case.

button, input, label { 
  line-height: 1.1; 
}

Set shorter line heights on interactive elements. We’ll do the same for headings later on.

4. Block spacing

Reinstate block margins we removed in the reset section. We’re setting consistent spacing based on font size on primary elements within ‘flow’ contexts. The entire ‘prose’ area is a flow context, but so might other parts of the page. For more details on the ‘flow’ utility see Andy Bell’s favourite three lines of CSS.

.flow > * + * {
  margin-block-start: var(--flow-space, 1em);
}

Rule says that every direct sibling child element of .flow has margin-block-start added to it. The > combinator is added to prevent margins being added recursively.

.prose {
  --flow-space: 1.5em;
}

Set generous spacing between primary block elements (in this case it’s the same as the line height). You could also choose a value from a fluid spacing scale, if you are going down the fluid typography route (recommended, but your milage may vary). See Utopia.fyi for more details and a fluid type tool.

5. OpenType utility classes

.dlig { font-variant-ligatures: discretionary-ligatures; }
.hlig { font-variant-ligatures: historical-ligatures; }
.dlig.hlig { font-variant-ligatures: discretionary-ligatures historical-ligatures; } /* Apply both historic and discretionary */

.pnum { font-variant-numeric: proportional-nums; }
.tnum { font-variant-numeric: tabular-nums;    }
.lnum { font-variant-numeric: lining-nums; }
.onum { font-variant-numeric: oldstyle-nums; }
.zero { font-variant-numeric: slashed-zero;    }
.pnum.zero { font-variant-numeric: proportional-nums slashed-zero; } /* Apply slashed zeroes to proportional numerals */
.tnum.zero { font-variant-numeric: tabular-nums slashed-zero; }
.lnum.zero { font-variant-numeric: lining-nums slashed-zero; }
.onum.zero { font-variant-numeric: oldstyle-nums slashed-zero; }
.tnum.lnum.zero { font-variant-numeric: tabular-nums lining-nums slashed-zero; }
.frac { font-variant-numeric: diagonal-fractions; }
.afrc { font-variant-numeric: stacked-fractions; }
.ordn { font-variant-numeric: ordinal; }

.smcp { font-variant-caps: small-caps; }
.c2sc { font-variant-caps: unicase; }
.hist { font-variant-alternates: historical-forms; }

Helper utilities matching on/off Opentype layout features available through high level CSS properties.

@font-feature-values "Fancy Font Name" { /* match font-family webfont name */

    /* All features are font-specific. */
    @styleset { cursive: 1; swoopy: 7 16; }
    @character-variant { ampersand: 1; capital-q: 2; }
    @stylistic { two-story-g: 1; straight-y: 2; }
    @swash { swishy: 1; flowing: 2; wowzers: 3 }
    @ornaments { clover: 1; fleuron: 2; }
    @annotation { circled: 1; boxed: 2; }
}

Other Opentype features can have multiple glyphs, accessible via an index number defined in the font – these will be explained in documentation that came with your font. These vary between fonts, so you need to set up a new @font-font-features rule for each different font, ensuring the font name matches that of the font family. You then give each feature a custom name such as ‘swoopy’. Note that stylesets can be combined, which is why swoopy has a space-separated list of indices 7 16.

/* Stylesets */
.ss01 { font-variant-alternates: styleset(cursive); }
.ss02 { font-variant-alternates: styleset(swoopy); }

/* Character variants */
.cv01 { font-variant-alternates: character-variant(ampersand); }
.cv02 { font-variant-alternates: character-variant(capital-q); }

/* Stylistic alternates */
.salt1 { font-variant-alternates: stylistic(two-story-g); }
.salt2 { font-variant-alternates: stylistic(straight-y); }

/* Swashes */
.swsh1 { font-variant-alternates: swash(swishy); }
.swsh2 { font-variant-alternates: swash(flowing); }

/* Ornaments */
.ornm1 { font-variant-alternates: ornaments(clover); }
.ornm2 { font-variant-alternates: ornaments(fleuron); }

/* Alternative numerals */
.nalt1 { font-variant-alternates: annotation(circled); }
.nalt2 { font-variant-alternates: annotation(boxed); }

Handy utility classes showing how to access the font feature values you set up earlier using the font-variant-alternates property.

:root {
    --opentype-case: "case" off;
    --opentype-sinf: "sinf" off;
}

/* If class is applied, update custom property */
.case {
    --opentype-case: "case" on;
}

.sinf {
    --opentype-sinf: "sinf" on;
}

/* Apply current state of all custom properties, defaulting to off */
* { 
    font-feature-settings: var(--opentype-case, "case" off), var(--opentype-sinf, "sinf" off);
}

Set custom properties for OpenType features only available through low level font-feature-settings. We need this approach because font-feature-settings does not inherit in the same way as font-variant. See Roel’s write-up, including how to apply the same methodology to custom variable font axes.

6. Generic helper classes

Some utilities to help ensure best typographic practice.

.centered {
    text-align: center;
    text-wrap: balance;
}

When centring text you’ll almost always want the text to be ‘balanced’, meaning roughly the same number of characters on each line.

.uppercase {
    text-transform: uppercase;
    --opentype-case: "case" on;
}

When fully capitalising text, ensure punctuation designed to be used within caps is turned on where available, using the Opentype ‘case’ feature.

.smallcaps {
    font-variant-caps: all-small-caps;
    font-variant-numeric: oldstyle-nums;    
}

Transform both upper and lowercase letters to small caps, and use old style-numerals within runs of small caps so they match size-wise.

7. Prose styling defaults

Assign a .prose class to your running text, that is to say an entire piece of prose such as the full text of an article or blog post.

.prose {
    text-wrap: pretty;
    font-variant-numeric: oldstyle-nums proportional-nums;
    font-size-adjust: 0.507;
}

Firstly we get ourselves better widow/orphan control, aiming for blocks of text to not end with a line containing a word on its own. Also we use proportional old-style numerals in running text.

Also adjust the size of fallback fonts to match the webfont to maintain legibility with fallback fonts and reduce visible reflowing. The font-size-adjust number is the aspect ratio of the webfont, which you can calculate using this tool.

strong, b, th { 
    font-weight: bold;
    font-size-adjust: 0.514; 
}

Apply a different adjustment to elements which are typically emboldened by default, as bold weights often have a different aspect ratio – check for the different weights you may be using, including numeric semi-bolds (eg. 650). Headings are dealt with separately as the aspect ratio may be affected by optical sizing.

8. Headings

h1, h2, h3, h4 { 
    line-height: 1.1; 
    font-size-adjust: 0.514;
    font-variant-numeric: lining-nums; }

Set shorter line heights on your main headings. Set an aspect ratio for fallback fonts – check for different weights of headings. Use lining numerals in headings, especially when using Title Case.

h1 {
    font-variant-ligatures: discretionary-ligatures; 
    font-size-adjust: 0.521;
}

Turn on fancy ligatures for main headings. If the font has an optical sizing axis, you might need to adjust the aspect ratio accordingly.

h1.uppercase {
    font-variant-caps: titling-caps;
}

When setting a heading in all caps, use titling capitals which are specially designed for setting caps at larger sizes.

9. Superscripts and subscripts

Use proper super- and subscript characters. Apply to sub and sup elements as well as utility classes for when semantic sub/superscripts are not required.

@supports ( font-variant-position: sub ) {
    sub, .sub {
        vertical-align: baseline;
        font-size: 100%;
        line-height: inherit;
        font-variant-position: sub;
    }
}

@supports ( font-variant-position: super ) {
    sup, .sup {
        vertical-align: baseline;
        font-size: 100%;
        line-height: inherit;
        font-variant-position: super;
    }
}

If font-variant-position is not specified, browsers will synthesise sub/superscripts, so we need to manually turn off the synthesis. This is the only way to use a font’s proper sub/sup glyphs, however it’s only safe to use this if you know your font has glyphs for all the characters you are sub/superscripting. If the font lacks those characters (most only have sub/superscript numbers, not letters), then only Firefox (correctly) synthesises sup and sub – all other browsers will display normal characters in the regular way as we turned the synthesis off.

.chemical { 
    --opentype-sinf: "sinf" on;
}

For chemical formulae like H2O, use scientific inferiors instead of sub.

10. Tables and numbers

td, math, time[datetime*=":"] {
    font-variant-numeric: tabular-nums lining-nums slashed-zero;    
}

Make sure all numbers in tables are lining tabular numerals, adding slashed zeroes for clarity. This could usefully apply where a time is specifically marked up, as well as in mathematics.

11. Quotes

Use curly quotes and hang punctuation around blockquotes.

:lang(en) > * { quotes: '“' '”' '‘' '’' ; } /* “Generic English ‘style’” */
:lang(en-GB) > * { quotes: '‘' '’' '“' '”'; } /* ‘British “style”’ */
:lang(fr) > * { quotes: '«?0202F' '?0202F»' '“' '”'; } /* « French “style” » */

Set punctuation order for inline quotes. Quotes are language-specific, so set a lang attribute on your HTML element or send the language via a server header. Note the narrow non-breaking spaces encoded in the French example.

q::before { content: open-quote }
q::after  { content: close-quote }

Insert quotes before and after q element content.

.quoted, .quoted q {
    quotes: '“' '”' '‘' '’';
}

Punctuation order for blockquotes, using a utility class to surround with double-quotes.

.quoted p:first-of-type::before {
    content: open-quote;
}
.quoted p:last-of-type::after  {
    content: close-quote;
}

Append quotes to the first and last paragraphs in the blockquote.

.quoted p:first-of-type::before {
    margin-inline-start: -0.87ch; /* Adjust according to font */
}
.quoted p {
    hanging-punctuation: first last;
}
@supports(hanging-punctuation: first last) {
    .quoted p:first-of-type::before {
        margin-inline-start: 0;
    }
}

Hang the punctuation outside of the blockquote. Firstly manually hang punctuation with a negative margin, then remove the manual intervention and use hanging-punctuation if supported.

12. Hyphenation

Turn on hyphenation for prose. Language is required in order for the browser to use the correct hyphenation dictionary.

.prose {
    -webkit-hyphens: auto;
    -webkit-hyphenate-limit-before: 4;
    -webkit-hyphenate-limit-after: 3;
    -webkit-hyphenate-limit-lines: 2;

    hyphens: auto;
    hyphenate-limit-chars: 7 4 3;
    hyphenate-limit-lines: 2;    
    hyphenate-limit-zone: 8%;
    hyphenate-limit-last: always;
}

Include additional refinements to hyphenation. Respectively, these stop short words being hyphenated, prevent ladders of hyphens, and reduce overall hyphenation a bit. Safari uses legacy properties to achieve some of the same effects, hence the ugly prefixes and slightly different syntax.

.prose pre, .prose code, .prose var, .prose samp, .prose kbd,
.prose h1, .prose h2, .prose h3, .prose h4, .prose h5, .prose h6 {
    -webkit-hyphens: manual;
    hyphens: manual;
}

Turn hyphens off for monospace and headings.

13. Dark mode/inverted text

Reduce grade if available to prevent bloom of inverted type.

:root {
  --vf-grad: 0;
}

@media (prefers-color-scheme: dark) {
  :root {
    --vf-grad: -50;
  }
}

* {
  font-variation-settings: "GRAD" var(--vf-grad, 0);
}

Not all fonts have a grade (GRAD) axis, and the grade number is font-specific. We’re using the customer property method because font-variation-settings provides low-level control meaning each subsequent use of the property completely overrides prior use – the values are not inherited or combined, unlike with font-variant for example.

There are probably better ways of doing some of these things, and the preview page is rather lacking at the moment. Please let me know on Github, or better still fork it, edit and resubmit.

Read or add comments




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Four arrested after protests at defence firm

Palestine Action said its members blocked the entrance to two Elbit Systems UK sites in Bristol.




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Activists bailed after protests at defence firm

The activists, who staged protests outside a defence firm on Tuesday, are released on police bail.




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In Defence of Anonymity

Last month, I was invited to speak at TEDx East End. The theme was 'Society Beyond Borders,' so I opted to talk about the history of anonymity, and why it is so important to preserve it for marginalised activists and writers.

Very often when you see the word 'anonymous' these days, it's followed almost immediately by the word 'troll'. But the rich history of anonymity and pseudonymity is far more than that, and has been a refuge for artists and others almost since the beginning of recorded history. In this talk I explore some of the leading lights of anonymity, and why they chose not to use their real names.





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Teams “welcome freedom” offered by revised 2026 regulations | RaceFans Round-up

In the round-up: Teams "welcome freedom" of 2026 regulations • Alpine targets Colapinto - reports • Pulling quickest in Formula E test



  • RaceFans Round-up

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Prospects for South Americans pursuing F1 “getting better” – Colapinto | RaceFans Round-up

In the round-up: F1 hopes for South Americans "getting better" • Verschoor back to MP for fifth F2 season • Verstappen races in charity event



  • RaceFans Round-up

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New Aston Martin simulator ‘like something from Star Wars’ – Krack | RaceFans Round-up

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Monza crash ‘made me mentally stronger’ – Antonelli | RaceFans Round-up

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  • Andrea Kimi Antonelli

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Alpine must make up for 0.3-second deficit with 2025 chassis – Briatore | RaceFans Round-up

In the round-up: Alpine must make up for 0.3-second deficit with 2025 chassis - Briatore • Stolen Lauda helmet goes on display • Wittich 'has not resigned'




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Licensing reforms would ease Michigan’s pain

Let anesthesiology assistants work for themselves




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New Search experiences in EEA: Rich results, aggregator units, and refinement chips

Following our latest update on our preparations for the DMA (Digital Markets Act), we're sharing more details about what publishers can expect to see in regards to new search results in European Economic Area (EEA) countries, and how they can express interest in these experiences.




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New Search experiences in South Africa: Badges and refinement chips

We're sharing more information about our new search experiences in South Africa, and how South African platforms can express interest and participate.




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Rédiger un devis de traduction efficace

 

Ça y est ça mord... Vous avez envoyé des dizaines de CV à travers le monde, fait appel à votre réseau social, amical et professionnel, épluché la presse économique et arpenté les salons professionnels, et vous avez enfin une piste, une vraie, une demande de devis... Et maintenant ? Idéalement, vous aurez anticipé ce moment et préparé un modèle de document, mais si vous êtes pris au dépourvu, pas de panique ! Il est encore temps de créer un devis efficace, à condition de respecter les conseils suivants.

La nécessité et l'utilité du devis

Un devis est un document écrit décrivant la prestation que vous vous engagez à réaliser et le prix que vous proposez. C'est donc une proposition de contrat, qui vous engage si elle est acceptée (par écrit), il est donc important de rédiger ce devis avec soin, afin d'honorer vos engagements et d'éviter tout malentendu.

 

Le devis est aussi un outil de communication. Un document clair et détaillé contribue à renvoyer une image rassurante. Un client cherche avant tout un professionnel compétent, faites donc en sorte que toutes vos communications d'entreprise, y compris votre devis, reflètent vos qualités et le mettent en confiance.

Les mentions ESSENTIELLES

Il est important de préciser que les informations qui suivent concernent uniquement les traducteurs français. Les règlementations en vigueur varient énormément d'un pays à l'autre, c'est pourquoi si vous ne résidez pas en France, je vous invite à vérifier auprès de votre association professionnelle ou d'un centre d'information pour les entreprises les règlementations s'appliquant à l'établissement de devis dans votre pays.

 

Pour ce qui est de la France donc, le devis n'est pas obligatoire pour les prestations de services linguistiques (sauf si leur montant s'élève à plus de 1500 € HT). Vous êtes donc libre de le présenter comme une facture ou comme une proposition commerciale pour mettre en avant la valeur ajoutée de vos services, mais dans tous les cas, il devrait au moins préciser :

  • Votre nom et vos coordonnées
  • L'identification de votre entreprise : numéro SIRET, code APE
  • Le nom et les coordonnées de votre client
  • La date d'émission et éventuellement la durée de validité de votre proposition
  • La prestation : description des éléments, délai de réalisation, mode de livraison, prix HT et TTC
  • Les conditions importantes (à puiser dans vos conditions générales de prestation de services) : livraison, exécution...
  • Le mode d'acceptation : bon pour accord (à dater et signer), mention précisant que l'acceptation du devis vaut acceptation des conditions générales de prestation de services.

À titre d'exemple, je vous propose de télécharger le modèle de devis proposé ci-dessous. Les éléments surlignés sont à modifier pour chaque client potentiel.

 

Devis
Modèle de devis (FR).pdf
Document Adobe Acrobat 372.6 KB

Le juste prix

L'enjeu du devis est de vous permettre de décrocher un contrat. Pour certains clients, mais surtout malheureusement, pour beaucoup de traducteurs, l'obtention du contrat dépend essentiellement du prix.

 

Le cas est classique, croyant à tort ou à raison, que son client potentiel ne s'intéresse qu'au montant TTC figurant en bas du devis, le traducteur tire au maximum son prix vers le bas dans l'espoir de remporter le contrat. Ne vous inquiétez pas nous sommes tous passés par là, mais méfiez-vous de ce réflexe. Il est nuisible à votre activité pour deux raisons :

  1. Vous ne tenez pas compte de votre seuil de rentabilité et vous engagez donc sur un prix qui sera trop faible pour vous permettre de vivre de votre activité.
  2. Le temps passé à traduire pour des cacahouètes ne pourra pas être utilisé pour effectuer ou rechercher des contrats plus rémunérateurs.

Pour éviter ces écueils, ayez toujours en tête le prix minimum que vous devez demander pour garantir la rentabilité de votre entreprise et ne demandez JAMAIS moins, quelles que soient les circonstances (projet longue durée, client sympathique, période creuse, etc.). C'est simple, mais efficace. Répétez après moi : « je ne travaillerai plus jamais pour des cacahouètes » !

 

Une fois cette base établie, tout est négociable. Vous pouvez toujours vous serrer la ceinture pour décrocher un contrat, mais rappelez-vous que si vous le faites, il sera ensuite très difficile de renégocier vos tarifs avec votre client.

 

Le prix idéal est équilibré, juste et cohérent. Ne soyez pas trop gourmand si vous démarrez (vous n'avez pas encore la réputation solide et la productivité d'un traducteur aguerri), mais n'hésitez pas à demander ce que vous estimez valoir. Un client sérieux, réellement intéressé par la qualité des traductions qu'il demande, ne se focalisera pas uniquement sur le prix. 

 

Si éventuellement vous ne remportez pas le contrat à cause d'un prix jugé trop élevé, résistez à la tentation de revenir vers le client avec un devis plus bas. Vous risqueriez de lui faire douter de votre niveau de compétence, voire de votre honnêteté (« si votre premier devis n'était pas ferme, c'est que vous avez essayé de me faire payer trop cher »). Mieux vaut donc accepter gracieusement la défaite. Vous renverrez alors l'image d'un professionnel sérieux, et qui sait, le client perdu reviendra peut-être vers vous lorsque votre concurrent moins cher aura bâclé sa traduction !

 

Les petits plus qui font la différence

IDENTITÉ VISUELLE

Comme nous l'avons évoqué au début de ce billet, le devis est aussi un outil de communication. Soignez donc sa présentation pour qu'il soit à la fois clair et complet. Comme tous vos autres documents d'entreprise, votre devis devrait reprendre les éléments de votre identité visuelle (couleurs, logo, typographie, etc) pour être immédiatement reconnaissable et évoquer subtilement le message de votre entreprise.

 

CONDITIONS GÉNÉRALES DE PRESTATION DE SERVICE

Nous avons déjà abordé la question des conditions générales de vente/prestation de service (CGV/CGPS) et leur importance pour éviter les malentendus pouvant devenir sources de conflit. Si vous avez pris le temps de rédiger des CGPS et en l'absence de tout autre forme de contrat, pensez à rappeler à vos clients potentiels que leur signature en bas du devis sous-entend l'acceptation de ces conditions. N'hésitez pas non plus à les joindre à votre devis pour clarifier au maximum les termes de votre accord.

 

PAIEMENT

Puisqu'un devis accepté à valeur de contrat, profitez-en pour informer vos clients de vos modalités de paiement. Indiquez le montant à régler et le délai accordé. Le cas échéant, vous pouvez également ajouter le montant d'un acompte payable à la commande ou le détail de paiements échelonnés (dates et montants), mais à ce stade, n'indiquez pas vos coordonnées bancaires : le prospect n'a pas encore décidé de vous confier le contrat.

 

OUTILS

De nombreux logiciels de facturation permettent de créer très facilement devis et factures. En quelques clics, vous enregistrez les coordonnées de votre client et le détail de la prestation, et la magie informatique fait le reste. En général, vous pouvez personnaliser les modèles proposés en y ajoutant votre logo ou en choisissant une couleur correspondant à votre identité visuelle. À télécharger (CielEBP) ou disponibles en ligne (Axonaut, Kiwili, Quickbooks, ZervantHenrii), généralistes ou spécialisés en fonction de votre secteur (LSP Expert) ou du statut de votre entreprise (MyAE.fr, Freebe), il existe des logiciels pour tous les goûts (et pour tous les budgets). À vous de les tester pour choisir celui qui vous conviendra le mieux et vous permettra d'améliorer votre productivité.

 

Maintenant à vous de jouer ! Si vous avez d'autres conseils à ajouter, n'hésitez pas à nous en faire part, ni à m'envoyer un exemplaire de votre devis efficace.

 

EN SAVOIR PLUS


L'auteure

Après avoir travaillé plusieurs années en tant que conseillère auprès de PME, Gaële Gagné est devenue traductrice indépendante en 2005. Aux commandes de Trëma Translations, elle traduit de l'anglais vers le français et partage ses connaissances en marketing et gestion d'entreprise avec ses collègues traducteurs dans un blog intitulé Mes petites affaires et par le biais de formations dispensées via Edvenn.


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