I am putting together pricing for interior book illustrations. The client would like to buy all rights to the illustrations, and I need to know how to price for that. The section on Book Interior Illustrations in the GAG Pricing and Ethical Guidelines book doesn’t address this that I can see…. Please advise! I’m talking about small line-art spot illos.
First of all, I love your website and your podcasts. They have really given me hope for my future and have made it seem a little less daunting. I have been in the advertising business for about 20 years. I am now at a point in my life where I have finally decided to pursue a career in illustration, which is why I got into this business in the first place. Drawing, illustrating, painting is the reason I pursued a creative career, but I got sidetracked by the the whole art director/creative director path. It has taken me this long to really know what I want to do. The problem is I have no idea how to start. I don’t even have any illustrations for a portfolio at this point. Sadly, when I worked in advertising, I stopped illustrating, so I am starting with a blank slate. I feel overwhelmed with even how to start. Every time I pick up a pencil or a brush, I am just frozen. I have no idea what my style is. What advice do you have for someone in my shoes who is starting over at the age of 40? First step, how to build my portfolio with inspiring work…
Thomas, You are doing a fantastic job with EFII. Great resource! I work in watercolor and I would like to replace my 12 year UMAX scanner. Have you come across a line/brand of scanners that other illustrators favor? Appreciate any recommendations on a solid scanner for artwork. Thanks for your time.
Hi Travis. I’m not really up to date on hardware like scanners. I recommend reading some reviews on sites like Amazon.com. Even if you don’t want to buy from that site, you can at least read reviews and get some ideas to narrow your search. The other approach is to post the question on Twitter. Good luck!
Your site is a total treasure with all of it’s resources and the founts of knowledge that you guys provide. However I was reading through the portfolio series and couldn’t help but notice that there aren’t any links to nice portfolios around. What I mean are hard copy portfolios and binders. Are there any sites you would recommend for professional portfolio cases to exhibit a body of work?
I’m fortunate enough to have space outside of the domicile to ply my trade. It’s a real blessing … one I don’t take lightly. And, like most spaces and offices, it has walls. Walls that could be used a lot better than they are now.
I have been kicking around the idea of trying to get together a “show” of VA illustrators and putting these walls to good use. I’m indebted to the Illustrators Club of VA/MD/DC for all their tireless effort and support, from providing resources to organizing their own shows like the Juried Exhibition going on now in DC. It’s all good stuff.
But, as illustrators all know, there’s always room for more.
And that’s where my room comes in.
Now, exactly what to do is the rub … I’ve never organized a show, or exhibition, and I’m shilling for advice and input on how to put down that first baby step. I’m hoping to get something together that not only showcases Richmond, VA area illustrators, but illustrators in VA that might feel at times that the focus in the DC metro area leaves them a little out in the cold, or unable to participate as much as they would like to due to simple distances. A spin-off of this would hopefully be the nascent building of a cadre of illustrators who are not only interested in showing their work, but are looking for support in numbers. Hey, we’re all in this together … It’s hard enough as it is to get your name out in the ether and circulating, time- and money-wise. There is strength in numbers and who knows what we could pull off?
I have no set agenda {yet} or set road map. But I know I can’t do this alone, nor do I want to …
I am a cartoonist and illustrator and for the first time visited your site. Great work – I will be a frequent visitor going forward.
I designed and created a mascot for a university, and have been used for developing that character in a number of iterations over the past couple of years. Presently, I have a contract with them that essentially provides joint copyright ownership and unlimited use within the school and its marketing. Recently I was asked to sign away my copyright ownership to the school. It’s not a particularly big school, the potential for major commercial value for the character is limited, and the pay for the work is just OK.
Perhaps they are looking to move to another designer, but besides this I am not sure why they would want to own the copyright outright. Any thoughts on how I should approach this situation so I protect myself and my work, while keeping the relationship positive? The GAG handbook didn’t have quite the answers I was looking for.
I got yet another request from someone visiting my illustration website today who of course has “an excellent idea for a book,” yada yada, and offers “split profits right up the middle.”
Obviously this is spec work, and I do not do that. Even things with the promise of possible income in the future fall into that category, I believe, and my schedule is too busy to take on a project without pay. Not to mention the fact that I’ve heard most publishers DON’T want to receive a book with illustrations, unless the author is also the illustrator.
My question is, how have you all handled requests like this, in a polite, business-like answer? My first instinct is to scream “AAAA! I DON’T DO SPEC WORK!” but that’s probably not the best approach, haha. What do you say to explain why you don’t do it, without launching into a lengthy explanation and not sounding stuck up?
Hi Laci. That’s a great question, and one that we all face on a regular basis. Here’s a link to my post on educating your clients about spec work, which includes my own personal approach to explaining why I don’t do spec. Hope this helps:
I am really very passionate about drawing and being a freelance illustrator would be my dream job. I have got my work on the internet and keeping up blogs and I am entering online compositions, i am giving myself lots of projects so i am constantly developing my portfolio. Just wondered if you could tell me how you got started and could give me any tips on getting illustration jobs and building up contacts.
Many Thanks
Amy
I love the podcast. I’m an illustrator who has only just started working in the industry so the podcast has really shaped my understanding of the business. I’m getting ready to send out my first postcard and I was wondering what information should be on there. I’m guessing website, name and e-mail address but what about blog and phone number.
I just got a call from the Directory of Illustration, telling me I’m a great fit for them and I should take my marketing to the next level. I see that you have them listed in your resource library. Do you think it’s worth the amount they charge? Do people really get enough clients to justify that kind of expense?
Hi Thomas! I’ve been posting these questions around other illustration communities, and thought – who better to ask than you?
I’m an amateur illustrator, studying at the Milwaukee Institute of Art and Design in my freshman year. I feel like it’s time for me to start making a name for myself online, and I have plenty of information on how to go about doing that, but I’m having trouble deciding what name to go by.
For a few years now I’ve been working under the screenname “Linaeve” or “Linaeve studio” on many different websites, but I’ve found out that there is a relatively well-known fine artist going by the name Lina Eve. In a professional sense, I don’t want to be competing with someone who has the same “brand,” which is why I’m considering changing the name I go by, despite the fact that I’m so attached to it.
Here’s where the difficult stuff comes into play: what should my brand name be? I’ve never really looked at it from a strictly professional angle, and it’s starting to bring up some big questions. While using my real name is a very professional option, I’m planning on getting married someday, so it’s most likely going to change, and I’m not sure if I want to continue going by my maiden name. Also, it isn’t very creative or memorable, it wouldn’t stick with customers. On the other hand, using a screenname could be seen as less professional by potential clients, and would be awkward to put on real-life products, such as the cover of a book if I were ever to illustrate for one.
Some people have mentioned using a pseudonym (Mark Twain, Dr. Seuss, Lewis Carroll, Banksy, etc.), but I don’t know how that would work at all. How would I choose a new name for myself? Who would know my real name, and under what circumstances?
I know that there are plenty of people who have succeeded under their real name and plenty who have succeeded under a screenname or pseudonym. I guess my question would be – are there any factors that I’m missing that I should take into consideration when choosing which to go by?
Any suggestions or insight will be much appreciated <3
~Chelsea "Linaeve" Beiler
Does the rule of thirds used in graphic design and photography also apply when creating an illustration? I’m illustrating a children’s book with dimensions of 8.5×11 horizontally laid out.
The problem is that with the page being horizontal the three lines would be going vertical not horizontal as well. Would a horizontal page with three horizontal lines be bad composition?
Amazing site and resource. Question: How does someone discover their marketable style? I can draw & paint in several; don’t know how to proceed. Advice sought.
I am putting together pricing for interior book illustrations. The client would like to buy all rights to the illustrations, and I need to know how to price for that. The section on Book Interior Illustrations in the GAG Pricing and Ethical Guidelines book doesn’t address this that I can see…. Please advise! I’m talking about small line-art spot illos.
First of all, I love your website and your podcasts. They have really given me hope for my future and have made it seem a little less daunting. I have been in the advertising business for about 20 years. I am now at a point in my life where I have finally decided to pursue a career in illustration, which is why I got into this business in the first place. Drawing, illustrating, painting is the reason I pursued a creative career, but I got sidetracked by the the whole art director/creative director path. It has taken me this long to really know what I want to do. The problem is I have no idea how to start. I don’t even have any illustrations for a portfolio at this point. Sadly, when I worked in advertising, I stopped illustrating, so I am starting with a blank slate. I feel overwhelmed with even how to start. Every time I pick up a pencil or a brush, I am just frozen. I have no idea what my style is. What advice do you have for someone in my shoes who is starting over at the age of 40? First step, how to build my portfolio with inspiring work…
Thomas, You are doing a fantastic job with EFII. Great resource! I work in watercolor and I would like to replace my 12 year UMAX scanner. Have you come across a line/brand of scanners that other illustrators favor? Appreciate any recommendations on a solid scanner for artwork. Thanks for your time.
Hi Travis. I’m not really up to date on hardware like scanners. I recommend reading some reviews on sites like Amazon.com. Even if you don’t want to buy from that site, you can at least read reviews and get some ideas to narrow your search. The other approach is to post the question on Twitter. Good luck!
Hey Travis,
Did you ever get a new scanner? I’m currently looking at the moment as well.
I found this review site: http://www.consumersearch.com/scanner-reviews
The Canon CanoScan 8800F looks promising and is reasonably priced.
Damon
Your site is a total treasure with all of it’s resources and the founts of knowledge that you guys provide. However I was reading through the portfolio series and couldn’t help but notice that there aren’t any links to nice portfolios around. What I mean are hard copy portfolios and binders. Are there any sites you would recommend for professional portfolio cases to exhibit a body of work?
I’m fortunate enough to have space outside of the domicile to ply my trade. It’s a real blessing … one I don’t take lightly. And, like most spaces and offices, it has walls. Walls that could be used a lot better than they are now.
I have been kicking around the idea of trying to get together a “show” of VA illustrators and putting these walls to good use. I’m indebted to the Illustrators Club of VA/MD/DC for all their tireless effort and support, from providing resources to organizing their own shows like the Juried Exhibition going on now in DC. It’s all good stuff.
But, as illustrators all know, there’s always room for more.
And that’s where my room comes in.
Now, exactly what to do is the rub … I’ve never organized a show, or exhibition, and I’m shilling for advice and input on how to put down that first baby step. I’m hoping to get something together that not only showcases Richmond, VA area illustrators, but illustrators in VA that might feel at times that the focus in the DC metro area leaves them a little out in the cold, or unable to participate as much as they would like to due to simple distances. A spin-off of this would hopefully be the nascent building of a cadre of illustrators who are not only interested in showing their work, but are looking for support in numbers. Hey, we’re all in this together … It’s hard enough as it is to get your name out in the ether and circulating, time- and money-wise. There is strength in numbers and who knows what we could pull off?
I have no set agenda {yet} or set road map. But I know I can’t do this alone, nor do I want to …
So … advice? Tips? Interest? Horror stories?
Lets get into trouble.
Thanks!
~ Kevin {kevin@kevinmcfadin.com}
Hi Kevin. Thanks for posing that question. That would be a great topic for EFII. I’ll look into some ways to present that.
Cheers,
Thomas
Hi Thomas,
I am a cartoonist and illustrator and for the first time visited your site. Great work – I will be a frequent visitor going forward.
I designed and created a mascot for a university, and have been used for developing that character in a number of iterations over the past couple of years. Presently, I have a contract with them that essentially provides joint copyright ownership and unlimited use within the school and its marketing. Recently I was asked to sign away my copyright ownership to the school. It’s not a particularly big school, the potential for major commercial value for the character is limited, and the pay for the work is just OK.
Perhaps they are looking to move to another designer, but besides this I am not sure why they would want to own the copyright outright. Any thoughts on how I should approach this situation so I protect myself and my work, while keeping the relationship positive? The GAG handbook didn’t have quite the answers I was looking for.
Thanks!
Hi all,
I got yet another request from someone visiting my illustration website today who of course has “an excellent idea for a book,” yada yada, and offers “split profits right up the middle.”
Obviously this is spec work, and I do not do that. Even things with the promise of possible income in the future fall into that category, I believe, and my schedule is too busy to take on a project without pay. Not to mention the fact that I’ve heard most publishers DON’T want to receive a book with illustrations, unless the author is also the illustrator.
My question is, how have you all handled requests like this, in a polite, business-like answer? My first instinct is to scream “AAAA! I DON’T DO SPEC WORK!” but that’s probably not the best approach, haha. What do you say to explain why you don’t do it, without launching into a lengthy explanation and not sounding stuck up?
Hi Laci. That’s a great question, and one that we all face on a regular basis. Here’s a link to my post on educating your clients about spec work, which includes my own personal approach to explaining why I don’t do spec. Hope this helps:
http://escapefromillustrationisland.com/2009/11/19/escapee-speaks-how-to-educate-your-clients-part-3-spec-work/
Hello Thomas
I am really very passionate about drawing and being a freelance illustrator would be my dream job. I have got my work on the internet and keeping up blogs and I am entering online compositions, i am giving myself lots of projects so i am constantly developing my portfolio. Just wondered if you could tell me how you got started and could give me any tips on getting illustration jobs and building up contacts.
Many Thanks
Amy
Hi Thomas,
I love the podcast. I’m an illustrator who has only just started working in the industry so the podcast has really shaped my understanding of the business. I’m getting ready to send out my first postcard and I was wondering what information should be on there. I’m guessing website, name and e-mail address but what about blog and phone number.
Thanks for all the hard work.
I just got a call from the Directory of Illustration, telling me I’m a great fit for them and I should take my marketing to the next level. I see that you have them listed in your resource library. Do you think it’s worth the amount they charge? Do people really get enough clients to justify that kind of expense?
Hi Thomas! I’ve been posting these questions around other illustration communities, and thought – who better to ask than you?
I’m an amateur illustrator, studying at the Milwaukee Institute of Art and Design in my freshman year. I feel like it’s time for me to start making a name for myself online, and I have plenty of information on how to go about doing that, but I’m having trouble deciding what name to go by.
For a few years now I’ve been working under the screenname “Linaeve” or “Linaeve studio” on many different websites, but I’ve found out that there is a relatively well-known fine artist going by the name Lina Eve. In a professional sense, I don’t want to be competing with someone who has the same “brand,” which is why I’m considering changing the name I go by, despite the fact that I’m so attached to it.
Here’s where the difficult stuff comes into play: what should my brand name be? I’ve never really looked at it from a strictly professional angle, and it’s starting to bring up some big questions. While using my real name is a very professional option, I’m planning on getting married someday, so it’s most likely going to change, and I’m not sure if I want to continue going by my maiden name. Also, it isn’t very creative or memorable, it wouldn’t stick with customers. On the other hand, using a screenname could be seen as less professional by potential clients, and would be awkward to put on real-life products, such as the cover of a book if I were ever to illustrate for one.
Some people have mentioned using a pseudonym (Mark Twain, Dr. Seuss, Lewis Carroll, Banksy, etc.), but I don’t know how that would work at all. How would I choose a new name for myself? Who would know my real name, and under what circumstances?
I know that there are plenty of people who have succeeded under their real name and plenty who have succeeded under a screenname or pseudonym. I guess my question would be – are there any factors that I’m missing that I should take into consideration when choosing which to go by?
Any suggestions or insight will be much appreciated <3
~Chelsea "Linaeve" Beiler
Hey Thomas,
Does the rule of thirds used in graphic design and photography also apply when creating an illustration? I’m illustrating a children’s book with dimensions of 8.5×11 horizontally laid out.
The problem is that with the page being horizontal the three lines would be going vertical not horizontal as well. Would a horizontal page with three horizontal lines be bad composition?
Amazing site and resource. Question: How does someone discover their marketable style? I can draw & paint in several; don’t know how to proceed. Advice sought.