Freelance illustrations is:
-
- hard work,
- requires you to plan ahead,
- requires you to have business knowledge,
- Affects the quality of your work, ability to meet deadlines and peace of mind.
- Effective time management is difficult to master, so it is important to set up a strategy as soon as possible.
Contracts: http://www.illustratorsaustralia.com/tips_for_commissioning_an_illustrator
http://klucylu.wordpress.com/2011/03/03/the-business-of-freelance-illustration-contracts-and-rights/
Resources: http://jackywinter.com/about-the-agency/how-much
Pricing: http://www.asauthors.org/scripts/cgiip.exe/WService=ASP0016/ccms.r?pageid=6054
The first thing we always recommend is to stock up on your Steven Heller books. One of the most prolific writers on the subject, his books are relative goldmines of illustration. Featuring heaps of amazing interviews with legendary art directors and working illustrators, some books even include example course syllabuses for you to set your own assignments. I would start with The Education of an Illustrator, move on to Inside the Business of Illustration, and finish with the most recent,Marketing Illustration.
My other two favourite books are How to be an Illustrator by Darrel Rees (founder of the Heart Agency) and the phenomenal AOI publication, The Illustrators Guide to Law and Business Practice.
If you head online, there are more sites than you can poke a stick at. This list will probably be updated, but our favourite sites at the moment are: Escape from Illustration Island, Illustration Mundo, Drawn!, Illustration Friday.
From: http://jackywinter.com/about-the-agency/how-much
Don't sell full rights
anticpate and cost in revisions of the work to charge a 'pain-in-the-bum' fee.
anticpate and cost in revisions of the work to charge a 'pain-in-the-bum' fee.
Want to commission an Illustrator?
Illustrators Australia encourages clients and members alike to follow a broad set of guidelines when commencing a new project using illustration. These guidelines intend to produce a mutually beneficial outcome for both parties, and ensure that everyone has a basic understanding of Standard Industry Practice. For example, a lot of clients new to the industry do not realise that commissioning an illustration does not automatically mean they own the artwork, and that the illustration cannot be used for any other purpose other than what was agreed upon with the illustrator. Copyright / ownership
always remains with the illustrator unless you have specific permission from the illustrator in writing (such as a contract) for buying the copyright in full and have provided agreed payment for such. Most illustrators would be reluctant to sign over their full copyright, but may offer licensing instead.
always remains with the illustrator unless you have specific permission from the illustrator in writing (such as a contract) for buying the copyright in full and have provided agreed payment for such. Most illustrators would be reluctant to sign over their full copyright, but may offer licensing instead.
For first time authors seeking to approach a publisher, please note that it is NOT a requirement for you to find an illustrator, or commission one, for your manuscript proposal – most publishers prefer to source the illustrator themselves and will enter into their own contractual agreements with them. For authors who wish to self publish, it would be wise to develop a budget and business plan before approaching an illustrator. Illustrators get many proposals for “no budget” spec work, and most will not be interested, or able, to work in lieu of future earnings unless you have credible credentials.
There is also a tendency for many of the smaller publishers to expect illustrators to work for free with the promise of “exposure” for their work. Illustrators Australia does not endorse or encourage this practice.
Illustrators’ work as individuals in most cases and they will set their own Pricing/Quotes and Contracts, you should discuss the topics below for your project and you should always use a contract wherever possible, illustrators will usually have one of their own or you may have one, and both parties must discuss and agree upon one. This should cover most of the topics mentioned here.
SO WHERE DO YOU START?
Right here!
Look through the portfolios on the IA website for styles you require
(you can contact the illustrator directly, though in some cases they may refer you to their agent)
(you can contact the illustrator directly, though in some cases they may refer you to their agent)
Things that should be discussed with the illustrator at the beginning of your project.
Timeline/Deadline
Are they available in this timeframe
Are they available in this timeframe
Style
It’s very important that you select the right illustrator for the right job. Before you pick up the phone take some time to look at few illustrators portfolios and take note of their style. Do they use realistic figures or cartoon-like figures? Do they incorporate painterly texture or flat digital images? Do they lean towards bright vibrant colours or do they only have subdued colours in their samples? Do they do come with conceptual ideas or does their area of expertise lie with rendering someone else’s idea.
It’s very important that you select the right illustrator for the right job. Before you pick up the phone take some time to look at few illustrators portfolios and take note of their style. Do they use realistic figures or cartoon-like figures? Do they incorporate painterly texture or flat digital images? Do they lean towards bright vibrant colours or do they only have subdued colours in their samples? Do they do come with conceptual ideas or does their area of expertise lie with rendering someone else’s idea.
Have a think about what your brief requires in these terms and take them into consideration when you’re selecting your illustrator. Hiring an illustrator who has a particular style and trying to make them work in another form is a good way to get off to a bad start. Always point out particular samples in the illustrators portfolio that might be relevant to your job. This will be very helpful to your illustrator when the job begins.
Specifications (print size, color, etc)
Print Run
Print Run
Do you have a Budget? Always ask for a quote but if you have a budget set in concrete you may want to let the illustrator know this first.
Usage (is it for one use or multiple i.e. Where will the finished illustration/s end up?
On a website, a poster, brochure, greeting card, book cover or all of these?
Illustrators may work out their fees per usage.
On a website, a poster, brochure, greeting card, book cover or all of these?
Illustrators may work out their fees per usage.
Area of use
Australia only, globally, Europe etc
Australia only, globally, Europe etc
Cancellation/Kill fees
If a client cancels a work in progress or rejects a finished artwork for reasons unrelated to the artist’s performance, the artist has a right to compensation. The amount is based on the stage at which the project is cancelled. To be determined at contract stage.
If a client cancels a work in progress or rejects a finished artwork for reasons unrelated to the artist’s performance, the artist has a right to compensation. The amount is based on the stage at which the project is cancelled. To be determined at contract stage.
Period of Use
How long do you want to use the illustration?
Illustrators can offer different licences for use, e.g. 12 months, 2 years
How long do you want to use the illustration?
Illustrators can offer different licences for use, e.g. 12 months, 2 years
Licensing – the illustrator may license the work to you for a period of time and purpose for a fee (the ownership remains with the illustrator), it is a legally bound agreement, once expired the rights revert back to the illustrator and they may re-license for further use should they wish to
- Exclusive – is exclusive to you (one party) to use the illustration for the ways set out in the original agreement (the copyright/ownership still remains with the illustrator
- Non exclusive- the illustrator can license out to others as well as you plus use the image themselves (the copyright/ownership still remains with the illustrator)
- Non exclusive- the illustrator can license out to others as well as you plus use the image themselves (the copyright/ownership still remains with the illustrator)
Reviewing sketches
Depending on how the artist works, it is usually best to ask for rough sketches to begin with, to ensure that the assignment progresses to your requirements. It is a good idea to discuss how many rounds of sketches are included in the quote before you begin – most illustrators are happy to provide one or two alterations, but it is reasonable that the illustrator will charge extra fees for changes (in some cases) if it is beyond the original brief. Make sure you have left enough time for the illustrator to make any changes well before your deadline.
Try not to ask for an unrealistic deadline, you will not have sufficient time to review the progression of roughs before the finished work is begun
The original finished artwork always belongs to the illustrator!
A WORD ON COPYRIGHT
Copyright and Moral rights lasts for 70 years after the death of the illustrator/artist
Note: Moral rights are personal rights relating to the illustrators reputation, they cannot be sold, these rights include:
The right to be identified as the author (right of attribution)
The right not to have the work falsely identified as someone else’s (right against false attribution)
The right not to have the work used in a derogatory way that is detrimental the reputation of author (right of integrity)
The right to be identified as the author (right of attribution)
The right not to have the work falsely identified as someone else’s (right against false attribution)
The right not to have the work used in a derogatory way that is detrimental the reputation of author (right of integrity)
For more info on Copyright you can also check out the following links:
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