Professional Documents
Culture Documents
to Freelance Illustration
by Thomas James
Edited by Melissa Wenzel
LIABILITY
Melissa Wenzel
Steven Heller
Martin French
Nate Williams
Leif Peng
Scott Hull
Kevin Cross
Chris Oatley
Jonathan Woodward
Dani Jones
Alex Mathers
Bob Ostrom
Anthony Freda
2
This book is dedicated to every Illustrator who ever
struggled to find their way.
3
Table of Contents
Preface .............................................................................................. 7
Introduction ...................................................................................... 8
4
Table of Contents (cont.)
5
About the Author
Thomas has written guest posts for Fuel Your Illustration, Design
TAXI, and the Creative Freelancer Blog, and has appeared on
Illustration podcasts and blogs such as Big Illustration Party Time,
Chris Oatley’s Artcast, Art & Story, Zero 2 Illo, Workbook, and Ninja
Mountain.
In his spare time, of which there is never enough, Thomas enjoys life
with his beautiful wife Melissa and his awe-inspiring twin daughters
Emma and Olivia.
6
Preface
Much like Escape from Illustration Island, this book has been a labor
of love for me for the last 6 months, and I sincerely hope that you find
a lot of useful ideas in these pages, and that they help you to build a
freelance Illustration business that sustains you for years to come.
- Thomas James -
7
Introduction
If you are reading this book, then you are an artist who wants to start,
or restart, your Freelance Illustration business on the right foot, and
you understand that this can be an overwhelming task.
This book, along with the supplemental Workbook, aims to serve two
main purposes:
8
chapter, things get right to the point and clearly outline tasks for you
to complete in order to establish or strengthen your freelance career
and give you the best chance of success in the future. In order to
accomplish this, I have divided both the book and the Workbook into
15 areas of focus so that you may address each one with the time
and attention that it deserves.
You will learn how to organize your budget and your time, how to
build a compelling portfolio website, how to create your unique brand
and promote it to your target market, as well as many other valuable
business and marketing techniques.
While this guide proposes a general order of tasks for you to follow,
it’s important to remember that you can, and should, progress at a
pace and order that works well with your personality and schedule.
Some tasks may take a few days for you to complete, while others
may take a few weeks. In some cases, you may even do them out of
order. The idea is to use the steps set out in this book as a general
guide, and to apply them to your unique situation as you see fit.
9
particular challenges and goals. You will be empowered to take
action by outlining your objectives and determining the best ways to
achieve them. It will also help you to track the results as you move
through the program and towards an effective business strategy. The
more time and energy you put into the Workbook, the more it will help
you to take control of the process of launching your business and
maximize the effectiveness of the ideas in this book.
Now that you have a better idea of what this book has to offer, let’s
get started!
10
Step 1
Take Stock
11
The first step towards starting your freelance Illustration business is
to evaluate your current situation and look ahead to where you’d like
to be in the future.
12
As an example, here are some questions you may
want to ask yourself at this stage:
13
There are some very important and perhaps uncomfortable questions
in the list above, and plenty more that you’re likely to come up with on
your own. In answering these questions, be honest with yourself so
that you can get an accurate view of where you stand and where you
want to go.
14
Step 2
Research
15
After evaluating your unique situation in Step 1, it can be very helpful
to do some research to gain any knowledge you may lack and find
out what resources might be available to you as a freelance artist.
The more informed you are about things like industry standards,
submission guidelines, and tax and legal issues, the better chance
you’ll have to handle a variety of situations that you face in the future.
Resources
16
Your Fellow Artists
Reach out to any freelance artists that you may know (or some that
you don’t) and ask them to share their experiences in starting their
own creative business. Often, they will be able to point out some
opportunities or concerns that you hadn’t previously considered. Also,
they may be able to offer advice or lessons that they have learned the
hard way.
17
Step 3
Set Up Your Workspace
18
Now that you’ve organized your thoughts, done some research, and
sought guidance from your peers, it’s time to set up your workspace
so that you will have an appropriate home base where you can build
the foundation for your business.
If you don’t have a place in your home that provides you with the
space and privacy that you need, you might want to consider your
options for renting an office space outside of your home. However, be
mindful of the effect that this will have on your bottom line. Your cost
of doing business will play a major role in determining your budget, as
well as the rates that you will charge for your services. The decision
of where to set up your workspace depends on what your needs are,
as well as what you can afford.
19
Although every artist’s workspace is unique, here
are some essential elements of an efficient office
or studio setup:
Organization
Storage
20
Privacy
Comfort
Freelancers are often required to work long hours in order to meet the
needs of their clients. In order to sustain your energy and happiness,
try to surround yourself with the things that make you comfortable
and motivated to work, such as music, artwork, photos, food and
drink, proper lighting, a comfortable chair, and anything else that
enhances your mood and keeps you happy while you work.
Supplies
21
interrupt your workflow and waste time that should be devoted to the
tasks at hand.
For the tools that you know you’re going to use in large amounts, it’s
a good idea to purchase them in bulk when possible. Materials
bought in large quantities are often sold at a discounted rate and
having a surplus keeps you from having to replenish too often. You
can always build your supply list as you go, but try to be as prepared
as possible from the start. It will allow you to focus on the demands of
the days ahead.
22
Step 4
Manage Your Time
23
One of your most valuable resources is time. Unfortunately, time is
also one of the first things to run out on you, which can affect your
quality of work, ability to meet deadlines, and peace of mind.
2. Make lists.
Document your goals for the day, the week, the month, and so
on. While this may not sound like the most exciting activity, it
can help to clear your mind and keep you on task. In addition,
24
the feeling of accomplishment each time you cross off an item
on your list can be a great reward. Consider keeping your daily
list short (3 or 4 tasks) so that you don’t feel overwhelmed.
Often, this is more than enough to keep you busy for one day.
25
5. Segment your projects.
One trick to help you work your way through a project without
feeling overwhelmed is to break things down into smaller
pieces. In other words, focus on just the first stage of a project,
rather than trying to wrap your brain around the entire concept.
Just like making lists, this can also help to motivate you by
showing you a pattern of forward momentum.
26
Step 5
Create Your Budget
27
In order to run a sustainable and profitable business, you need to
analyze your budget and develop a financial plan for the future. This
is a critical step towards protecting yourself from unexpected costs
and giving yourself breathing room to invest in the future growth of
your business. Additionally, a realistic picture of your budget will help
you more accurately determine how much you need to charge for
your services in Step 6.
Startup Costs
28
Monthly Expenses
Savings
Hiring an Accountant
29
valuable time and energy to do so. Working with an accountant also
gives you the security of knowing that your accounting and tax
documents are in line with current tax law and regulations.
30
Step 6
Determine Your Rates
31
For Step 6, we’re going to tackle one of the most difficult questions
many new Illustrators face when starting their business:
I can’t tell you what to charge for a given project, but I can highlight
some factors that you should think about when making this important
decision. Keeping the following things in mind will help you to get as
close as you can to a fair and reasonable rate that will sustain your
freelance business.
32
So, when determining your rates, consider the intended use of the
Illustration and the value that it will provide to the client. If your
artwork will be used for a wide range of applications, then it fulfills a
greater need for your client, and is therefore worth a higher price.
Although it is always better to keep full ownership of your work, If you
are surrendering all of your rights to profit from your work in the
future, then you should be compensated for the potential value that
you are giving away.
Industry Standards
What is the going rate for the project at hand, what do your peers
charge, and where do you fall within that range? One of the best
resources for this type of information is a book called Pricing and
Ethical Guidelines by the Graphic Artist’s Guild. This publication
offers detailed charts of industry-standard prices for a wide variety of
projects and media. While it is helpful to know what other
professionals are charging for similar work, keep in mind that you
won’t be able to demand as much as someone with many years of
experience. However, as your business grows you will be able to
justify a higher rate for your services.
Time Spent
33
estimate your hourly rate based on your expenses, it is much wiser to
evaluate each set of circumstances on its own terms and quote an
overall price for the project. This will help your client to understand
what they can expect to pay for the finished work, and it will allow you
to consider the factors that make every project unique.
Your Expenses
Keeping up with your cost of living and doing business should be your
primary concern when determining your rates. You need to put your
survival first, so do your best to figure out the minimum that you will
need to earn per month, then per hour in order to stay on top of your
expenses. If you’ve done your best in Step 5 to craft a realistic
budget, then you should have a relatively accurate idea of what your
basic needs are.
How complex is the project and how long will it take you to complete?
A highly detailed Illustration or several pieces for a large-scale
campaign will require more time and effort than a simple line drawing.
Try to estimate how long it will take to complete the level of work that
is being commissioned, and consider the amount of skill that is
involved.
34
It is also important to think about the number of revisions that will be
provided. In other words, how many times will you be required to go
back and forth with the client and make changes to be sure you are
meeting their needs and expectations? Each set of revisions means
more work for you, so try to estimate how much time it might take you
to make adjustments to your work and charge accordingly.
If you can tell from your first interaction with your client that they are
going to be particularly demanding of your time and energy, then it’s
a good idea to demand a higher rate. Some artists refer to this as the
“Pain-in-the-Butt Fee”, and it can help you to tolerate an otherwise
taxing relationship.
An Informed Decision
35
Step 7
Write Your Contract
36
(Disclaimer: I am not a lawyer and do not accept responsibility for any
legal matters that may occur in regards to your contract. I simply
offer the following advice based on my personal knowledge and
experiences within my own freelance Illustration business.)
Now it’s time to create your contract, the legal document that should
be used for every project that you are hired to complete. You should
take your contract very seriously, because it's your first line of
defense if things go sour. A bad situation is made immeasurably
worse when there is no contract to turn to when it comes to settling
differences with a troublesome client. In addition, a contract is the
best way to outline the specifics of a project from the start, and to
ensure that all parties involved are aware of what is expected of
them.
Project Details
You should include details such as the amount, size, and medium of
37
the Illustrations, the project's name, and the intended use of the
artwork. You should also clearly define what you will submit for each
stage of the project and how many revisions are available to the
client.
By defining these details, you will be able to justify any additional fees
incurred by the client for any work beyond the scope of the original
agreement.
Terms of Payment
In addition to stating the total price for the project, you should clearly
outline the process of payment. For example, you may require half of
the total price up front and a fraction of the remainder upon the
delivery of artwork at each stage of the project. It can also be helpful
to note that the client cannot use your artwork until the balance is
paid in full. Remember, if these details aren't in writing, you won't be
able to enforce them.
Kill Fee
38
Rights Transferred
Are you selling the rights to use your work on a single print run of a T-
shirt, or does the client own the artwork outright? Will they be
allowed to profit from your art in other countries? Be sure to make
this clear in the contract, especially if you intend to use the Illustration
for your own purposes in the future. If you sell complete ownership
and usage rights to the images you create, I recommend including a
clause that allows you to show your work in your portfolio and
promotional mailers.
You should agree upon and specify in your contract whether you'll
receive written credit for your work, and if you'll receive book copies,
tear sheets, or other products created with your artwork as part of
your compensation.
Contact Info
This may sound like a no-brainer, but whether you're working with an
individual or a company, be sure to get the contact info and signature
of at least one person who will be responsible for payment and any
other obligations.
39
Protect Yourself
40
Step 8
Assemble Your Portfolio
41
Up to this point, we’ve focused on the business side of things. Now
it’s time to switch gears and get creative. The best place to start is
your portfolio.
42
How to Select Images for Your Portfolio
I encourage you to take a step back from your portfolio and try to put
yourself in an Art Director’s shoes. This can be difficult to do, since
you probably have a strong emotional connection to every piece
you’ve ever created. However, this may be one of the most helpful
questions that you ask yourself as a creative professional. Your
potential clients won’t have this same sentimental connection to your
work. They are simply looking for someone to help them solve a
problem or communicate a visual message. If you view your work
from this perspective, you will be better able to find any weaker
pieces that devalue your overall portfolio, and eliminate them. If you
can manage to be brutally honest with yourself when judging your
work, you will end up with a stronger portfolio.
43
Consistency or Variety?
If you choose this alternative path, however, you should still try to
inject enough consistency into your work to convey a unified artistic
vision. Just remember that the goal is to get Art Directors to hire you,
and the best way to do that is to exhibit a unique identity as a creator.
44
This isn’t to say that you shouldn’t feel free to express and explore
different avenues with your work, but it’s important to give an Art
Director a clear sense of what they can expect if they hire you for
their next project. After all, your portfolio should be doing the work of
selling the services that you provide, and in most cases it only has a
few minutes, or even seconds, to accomplish that. If any part of your
portfolio feels like it doesn’t belong, get rid of it and see if your body
of work feels more like a cohesive unit rather than a random selection
of work by different artists.
Segmenting
If your work doesn’t fit neatly into one category, an alternate way of
maintaining cohesion in your portfolio is to break the pieces down into
2 or more individual image galleries where you can feature each type
of work under its own umbrella.
For example, let’s assume that you’re an Illustrator who works in both
color and black & white; and you also offer web design services.
Consider creating 3 separate portfolios named “Color”, “Black &
White”, and “Web Design”.
This will help an Art Director who visits your site to find what they are
looking for quickly without sorting through any irrelevant material, and
it will increase the chance that they’ll stick around to view your work
rather than leave in frustration.
45
Segmenting your work into a few tightly wrapped collections can help
to streamline your visitor’s experience of your Illustration portfolio and
allow you to present an easily searchable, high-quality collection of
work. If you offer more than one type of service or prefer to Illustrate
in more than one distinct style, consider applying this idea to your
own portfolio to present a clear message to your potential clients.
A Work in Progress
Keep in mind that you will evolve and grow as an artist over time, so
it’s a good idea to revisit your portfolio on a regular basis and remove
anything that either detracts from the quality of the whole or ceases to
represent your style or abilities. Some Illustrators tend to be
discouraged when they notice an old relic in their portfolio that they
now dislike. I recommend rejoicing in the fact that your best
Illustration today may be your worst portfolio piece tomorrow. It can
be helpful to look at past work as milestones that prove you are
progressing on your journey as a professional artist.
46
Step 9
Define Your Brand
47
After your portfolio, your brand is the second most important factor
when it comes to making a strong first impression. Simply put, your
brand is the overall identity of your business, and it can be conveyed
in many ways, such as your visual brand, your reputation, and your
presence in the industry. Every aspect of your brand will add up to
tell the story of your business, and of your personal creative style.
At the start of your career it’s a good idea to try and establish a strong
visual identity that will act as the face of your business and help you
establish yourself as a professional. A well-crafted visual brand can
speak volumes about your target market, your style, and even your
area of expertise. While these aspects of your business are largely a
personal choice, there are some key elements to consider when
determining how to present a unique brand.
Logo
Your company logo will probably be the most widely viewed aspect of
your brand, because it will appear on your website, business cards,
and other promotional materials. When creating this visual
trademark, it is important to convey the style that you are promoting.
Keep your target market in mind and present a quickly readable and
recognizable logo that will transfer well to a variety of media. Some
artists simply prefer to use their best Illustration as their logo image.
48
Color and Type
Choose a color scheme and typography that fits your personality and
style, and make use of these elements in every facet of your visual
identity to reinforce a consistent brand. Naturally, they should be
compatible with your logo and express something about your creative
vision.
Portfolio Samples
Consistency
49
company logo or a photo of yourself to preserve some level of
continuity.
Presence
The way you interact with clients, fellow artists, and others in the field
will play a major role in determining the reputation of your brand, and
therefore your success.
At this early stage in your career, take some time to think about how
you want your business to be perceived, and what you can do to
shape that image. How much interaction will you have with the public
through social networks, newsletters, or blogs? How will you treat
your past, present, and future clients?
50
Step 10
Create Your
Promotional Strategy
51
One of your most important tasks as a Freelance Illustrator is to put
your work in front of the right people, make them remember you, and
make them feel compelled to hire you for their next project. This
aspect of your business can be a full-time job in itself, and some
artists are uncomfortable with the very idea of self-promotion or
simply don’t know where to begin. Others would rather spend their
time doing nothing but creating art. The fact is, without promotion,
there’s no work to keep your business afloat.
In order to get the most out of your marketing efforts, it’s important to
create a strategy to follow in the days ahead. By preparing in
advance, you can simply execute the plan that you devised rather
than reinvent your approach again and again.
Mailing List
52
Marketing Materials
Promotion Schedule
53
Social Networking
Artist Representatives
54
can sometimes negotiate a better rate and contract than you might be
able to obtain because of their expertise in the field. As an added
bonus, an agent may offer guidance to help you to fine tune your
portfolio and branding for a particular niche market.
Keep in mind that acquiring an art rep doesn’t mean you’ll never have
to promote yourself or find new clients. In many cases, art reps only
bring in a portion of the total amount of an Illustrator’s work. In
exchange, the agent receives a percentage of your fee as
commission for securing the project. The Illustrator is usually
responsible for covering the costs of promotion. And, of course, there
is the time and effort involved in seeking out and acquiring the right
agent for you.
55
Step 11
Build Your Website
56
The next step in establishing your business is to build your portfolio
website. Ideally, an effective website will present a strong identity
and attract the types of clients you really want to work with. The
desired effect of your portfolio website is to get someone to hire you,
or at the very least, bookmark your site so they can follow your work.
If you apply the elements outlined in this chapter, you will be more
likely to keep them around long enough to call them to action.
Whether you are building your site from scratch, or using an online
portfolio service, there are some basic elements that you should
consider when building your site.
Image Gallery
57
In order to make the experience as seamless and satisfying as you
possibly can, there are 3 key transitions to take note of when
evaluating the navigation of your portfolio:
1. Website to Gallery
Obviously, you need to make your Illustration portfolio the
centerpiece of your website, which means making it painfully obvious
where your visitor needs to click in order to view your work. Whether
it’s a simple text link in the menu bar of your site or a collection of
thumbnail images on your home page, the idea is to help your visitors
find your portfolio as quickly and easily as possible so that you can
(hopefully) impress them with your work.
2. Image to Image
Your online portfolio should have clear navigation cues, such as
clickable arrows to take the visitor forward and backward within the
image gallery.
3. Gallery to Website
It’s also crucial to make it easy for your visitor to return to the main
hub of your website, where they can find your bio, testimonials, list of
recent work, and most importantly, your contact information.
58
About Page
An effective About page should include a photo of you. This has the
effect of planting your roots a little deeper in their memory banks and
establishing a subconscious link between the work and the person
creating it. In addition, it adds a level of transparency to your portfolio,
which is increasingly important as the Internet grows as a business
environment. For those who don’t wish to include a photo, an
Illustrated self-portrait could be a valid secondary choice, allowing
you to use this option to feature yet another piece of your work.
Needless to say, everyone will approach their About page with their
own style and personality, and that’s the point. If you keep the above
59
elements in mind, you can capitalize on the impression your portfolio
has made by making them feel more comfortable with the idea of
contacting you to talk about their needs.
Client List
If you’re just starting out with your Illustration career, it’s generally not
a good idea to have a list of recent projects that is only two or three
items long, unless of course you have worked with some big name
clients. This only has the effect of highlighting your limited
experience, so it’s better to wait until you’ve got something to talk
about. Until then, you can focus on making the most of the other
areas of your site.
Call to Action
We’re going to assume that you’ve maximized the potential of your
portfolio website and instilled in your visitor at least a faint interest in
working with you. Once you have their attention you need to make it
as easy as possible for them to initiate contact.
60
The least you should do is make your contact information visible.
This part is easy, but you can do so much more to inspire action,
such as create a contact page and link to it from the other pages of
your site.
The absolute best thing that you can do to increase the chances of
your visitor reaching out to you is to include a contact form
somewhere on your website. This gives potential clients the
immediate opportunity to contact you directly from your website rather
than via their email account. You are making it as quick and easy as
possible for them to start a dialogue, which is the point of all the effort
that you’ve put into your website.
61
Step 12
Publish Your Blog
62
No matter how effective your portfolio website is at impressing your
audience, it is a static and timeless environment that offers no clues
as to your continuing activities as an artist. That’s why it can be very
beneficial to start a blog.
A blog can add a dynamic layer to the more rigid format of your site,
while providing a forum to update your followers on your recent news
and developments. It can also be a place where you can present
yourself in a more casual way, and even inject some personality into
your brand.
Without diving too deep into the topic of search engine optimization
(SEO), it’s also important to point out that since blogs are generally
updated more frequently than websites, they will rank higher in
search engines like Google. This has the benefit of making it easier
for people to find you online.
63
Another great use of your blog is to establish yourself as an expert in
your field by writing informative articles and tutorials for your fellow
Illustrators. A similar approach is to describe your creative process
on a particular project. Opening a window to your methods can have
the combined effect of educating and entertaining your audience,
which will increase their chances of coming back for more.
Your blog can also be a great place to post work that you wouldn’t
typically include in your portfolio. A blog invites visitors into your
creative world, allowing you to show your mistakes, your
experiments, and even your failures. All this helps to paint a broader
picture of who you are.
64
Reinforcing Your Brand
Chances are, you put a lot of thought and energy into designing your
portfolio website, which hopefully included some consideration of
branding. Therefore, it makes good business sense to carry that
brand over to your blog design so that a level of consistency is
maintained between platforms. If you are using a free blog template
through services like Blogger or WordPress there are limits to how
much you can customize your blog. The least you can do is
incorporate your logo and a matching color scheme.
The most ideal situation is to have a blog that is integrated into your
portfolio website, so that the potential client doesn’t leave the
controlled environment that you have created just for them. An
added bonus is that the SEO benefits previously mentioned now
apply to your main site as well, assuming you update your blog on a
regular basis.
65
Step 13
Build Your Mailing List
66
An effective mailing list is a crucial element of a winning promotion
strategy. It allows you to target your message to a select group of
contacts and keep them up to date with your most recent work.
To maximize the effect of your marketing efforts, it helps to know the
best ways to go about building and maintaining your list. Otherwise
you might unnecessarily waste a lot of time and energy contacting the
wrong people.
Stay on Target
67
Browse Illustration Annuals
Go Surfing
68
Go Local
In many cases, there are probably businesses in your area that are
regularly in need of creative professionals to design their logos, signs,
or other promotional materials. Seek out the companies you might
like to work with, and collect the contact information of the owner or
marketing director.
Stay Current
Your mailing list is one of the most important tools in your Freelance
Illustration business, so it’s important to take the time to make it as
effective as possible. With dedication, these simple steps can help
you to make new connections and find new opportunities for future
work.
69
Step 14
Create Your
Social Networking
Strategy
70
In order to build upon the promotional strategy that you developed in
Step 10, you should consider using online social networking to further
broadcast your brand, build relationships, and take your marketing to
the next level.
Set up a profile on the social networking sites of your choice and take
the time to familiarize yourself with the way each site works. Each
platform offers a different set of features, so it may take some
exploration to decide which ones you’d like to devote more time to.
While it can be valuable to have a profile on as many sites as
possible, you may find that certain platforms are just not a good fit for
your brand, your aesthetic sensibilities, or your personality. As with
any aspect of your business, eliminate anything that simply isn’t
working for you. Instead, focus your efforts on what is showing
positive results.
71
Here are some tips to help you to make the most
of social networking:
Be Genuine
Be Generous
Share your knowledge and help those less experienced than yourself.
This will help you to build friendships and establish yourself as an
expert in your field. Artists are often searching for answers to their
questions online, and they will remember those who help them along
the way.
Be Professional
72
Stay Active
It’s a good idea to stay on everyone’s radar and help them remember
that you’re an active, working artist. With this in mind, try to submit
regular updates to your social networking profiles. People are more
likely to engage with you if you consistently pique their interest.
You will find great value in interacting with your peers, but try not to
limit yourself to a select group of fellow artists. In order to use social
networking as a business tool, it’s important to seek out and connect
with people like art directors, editors, and artist representatives.
Your portfolio website and blog are the places where you have the
most control over your brand, so be sure to prominently display a link
73
to them in your profile. Strangely enough, this step is often
overlooked, but it’s one of the best ways to direct people to a place
where they can learn more about you and your business.
74
Step 15
Launch Your Business
75
Until now, you’ve been focusing all your time and energy on
preparing for the future of your freelance business. The next logical
step forward, and often the most exciting, is the actual launch of your
business. The launch is the event that transforms your business from
an idea to a reality. This is your opportunity to announce your arrival
on the scene, initiate contact with potential clients, and introduce
yourself to the world.
In the launch of your business, you will make use of all the work
you’ve done in previous steps. Now is the time to act upon the
promotional strategy that you’ve created by sending out your opening
promo blast to your mailing list, making announcements on your blog,
and spreading the word through social networking. The main idea is
to get your name and your artwork out into the public, and hopefully
make a strong first impression on your target audience. Invite people
to follow your future work via your blog, newsletter, or social
networking updates.
1. Run a Giveaway
Hold a contest where you award 1 or more lucky winners
something of value, such as a print of your work. You could
allow people to enter to win by following you on your social
76
network of choice or by signing up to your email newsletter.
This way, you are also working to build your audience from the
start.
77
places to announce your business and direct people to your
site.
5. Advertise
If you have a sufficient budget, consider purchasing ads in
Illustration trade books, websites, or even local publications.
Tailor your ad placement to announce your business to your
target market.
78
After the Launch
79
Congratulations!
It has taken a lot of work, but you should be proud of the business
you have begun to build. If you’ve done your best to give each step
in this book the time and attention that it deserves, you are more
prepared than many other artists who try to start their businesses
without a strategy in place.
Every plan you’ve made, and everything you’ve learned, will help you
to constantly improve and grow as a creative professional. There will
always be more to learn and more changes to adapt to, and the steps
that you’ve taken up to this point will help you to do just that.
80
Here are some questions you may want to ask
yourself in the days ahead:
81
• Is my promotional strategy showing any results, or
should I rethink my approach?
• Is it time to update my website or blog?
• Am I publishing posts on my blog often enough?
• How up-to-date is my mailing list?
• Am I spending too much time on social networking,
or not enough?
• Is it time to make another “splash” with an event or
giveaway?
In addition, remember that you can always find a wealth of ideas and
inspiration by interacting with the Illustration community.
82
Appendix A
Resources
83
Art Supplies
Art Supply Warehouse
Blick
MisterArt
Utrecht
Books
Artist’s and Graphic Designer’s Market
Marketing Illustration
84
Freelance Business Support
Art Licensing Info
Freelance Switch
SCORE
Startup Nation
Illustration Blogs
Ape on the Moon
Drawn!
Illustration Mundo
Illustrophile
The Little Chimp Society
Signature Illustration
85
Today’s Inspiration
Zero 2 Illo
Marketing / Promotion
Adbase
agency access
fresh lists
Mail Chimp
ConceptArt.org
design:related
deviantART
Drawing Board
86
Epilogue
Gutter Zombie
Illustration Friday
Mojizu
Polykarbon
Online Portfolios
Altpick
Behance
Carbonmade
ChildrensIllustrators.org
Coroflot
Creative Hotlist
deviantART
Dripbook
87
FigDig
Flickr
Folioplanet
Hire an Illustrator!
The iSpot
Organizations
AIGA
Illustrators’ Partnership
Society of Illustrators
Working Artists Network
88
Podcasts
Art & Story
Drawn Today
Freelance Radio
Fundamentals of Copyright
Ninja Mountain
SiDEBAR
WiP
89
Appendix B
Sample Contract
90
Client: _______________________ Date:_____________
Project Title:_____________________________________________
Subject Matter: __________________________________________
Size: ___________________________________________________
Color or Black & White: ____________________________________
Media: _________________________________________________
Any relevant production info: ______________________________
Due Date(s): Stage 1: ______________
Stage 2: ______________
Stage 3: ______________
Rights transferred: _______________________________________
Duration of usage: _______________________________________
Limitations on media in which used:_________________________
Limitations on geographical use:____________________________
Owner of Original Art: ____________________________________
Fee for rights granted: ____________________________________
FRONT
91
1. Reservation of Rights
All rights not expressly granted above are retained by the Artist, including any electronic rights or usage and includ-
ing, but not limited to, all rights in sketches, comps, or other preliminary materials. Any use additional to that
expressly granted above requires arrangement for payment of a separate fee. The Artist retains the right of usage for
self-promotion, including placement in portfolio.
2. Revisions
Artist agrees to submit 3 stages for client’s approval. Additional fees will be charged to Client for revisions made
after such sketches and for all revisions that reflect a new direction for the assignment or new conceptual input. No
additional fees shall be billed for changes required to bring final artwork up to original specifications or assignment
description. Client agrees to offer Artist the first opportunity to make any changes to final artwork.
3. Cancellation and Kill Fees
Cancellation (”kill”) fees are due based on the amount of work completed. Fifty percent (50%) of the final fee is due
within 30 days of notification that for any reason the job is cancelled or postponed before the final stage. The remain-
der of payments due upon cancellation are based on the number of stages completed. One hundred percent (100%)
of the total fee is due despite cancellation or postponement of the job if the art has been completed. Upon cancella-
tion or kill, all rights to the art revert to the Artist, and all original art must be returned, including sketches, comps, or
other preliminary materials.
4. Credits and Copies
A credit line suitable to the design of the page will be used in all cases. Client agrees to pay an additional 50% of the
total fee for failure to include credit line. Credit line is required indepentent of Artist’s signature, which shall be
included at Artist’s discretion unless otherwise agreed in writing above. Client agrees to provide Artist with 1 sample
copy of any printed material.
5. Payment
Fifty percent (50%) of payment is due upon signature of this agreement. Fraction of remaining payment for finished
work is due upon acceptance of each stage. The Client’s right to use the work is conditioned upon receipt of
payment upon acceptance and upon Client’s compliance with the terms of this agreemen. A 1 1/2% monthly service
charge will be billed against late payment.
6. Permissions and Releases
The Client agrees to indemnify and hold the Artist harmless against any and all claims, costs, and expenses, includ-
ing attorney’s fees, due to materials included in the Work at the request of the Client for which no copyright permis-
sion or privacy release was requested or for which uses exceed the uses allowed pursuant to a permission or release.
7. Miscellany
This agreement shall be binding upon the parties, their heirs, successors, assigns, and personal representatives. This
agreement constitutes the entire understanding of the parties. Its terms can be modified only by an instrument in
writing signed by both parties. Any dispute regarding this agreement shall be arbitrated in Portland, OR under the
rules of the American Arbitration Association and the laws of Oregon. This agreement shall be governed by the laws
of the State of Oregon and courts of such State shall have exclusive jurisdiction and venue.
BACK
92
Appendix C
Bonus Articles
93
10 Rules of Effective Self-Promotion
1. Be Unique
In order to get Art Directors, Art Reps, and anybody else to notice
and remember you, there has to be something about your work, your
brand, or your marketing strategy that they haven’t seen before. The
most common way to achieve this is with your portfolio, your website,
or your promo mailers. Try and think outside the box to find other
ways to stand out.
2. Be Relevant
If you’re aiming for a specific market, make sure you’re promoting
yourself to the people who work in that field and only show work that
they can relate to or see themselves needing in the future.
3. Be Consistent
Try to give Art Directors a good idea of what they can expect to get if
they hire you for their next book, t-shirt, or album cover project by
showing a consistent style or method of working.
4. Stay Fresh
Being consistent doesn’t mean you have to bore your potential
clients, or yourself, with the same type of work day in and day out.
Show your target audience that your Illustrations can be dynamic
94
and exciting. Try to be inspired and to inspire others. That is, after
all, one of the things that makes you an artist.
6. Make Connections
Seek out and introduce yourself to the artists and Art Directors in your
target market. Build real relationships with people and become a part
of the community.
8. Don’t Overdo It
Never harass an Art Director or send updates too frequently. This will
only serve to annoy them and cause them to remember you for the
wrong reasons.
95
9. Make a Splash
Try to do something exciting to grab the attention of your potential
clients, such a showing your work in a public space, creating unique
and memorable promo mailers, or publicizing interviews or features of
your work. If you’re going to contact a potential client, it’s nice to
have something to tell them about.
96
How to Find an Art Rep
You may discover that the search for an art rep shares a lot of
similarities with the search for clients. This makes perfect sense,
because what you’re looking for is someone to do the hunting for you.
Before you start contacting every art rep in sight, it’s important to
determine which ones are operating in your target market, otherwise
you’ll end up wasting a lot of time and energy (both yours and the
agents’) by embarking on a wild goose chase. Some art reps
specialize in Children’s Books, some focus solely on Editorial
Illustration, and some may concentrate on specific styles or media.
Despite what some may think, the buckshot approach simply won’t
work. If your style and desired field of Illustration don’t mesh with the
expertise and focus of the art rep you’ve contacted, they most likely
won’t even bother responding. If they do respond, it’s actually a good
sign that the agent doesn’t specialize in any particular field, which can
dilute their efforts to find you relevant work.
Some key things to look for are the market that the agent focuses on,
as well as the style and level of talent of some of the other artists they
97
represent. You can get a good idea about these factors just by
visiting the agents’ website and looking through their About page and
the Illustrators’ portfolios.
Do a Quality Check
Keep in mind that an art rep should impress you just as much as you
want to impress them, because what you’re seeking is a mutually
beneficial relationship, and you’re going to need them to impress
potential clients as well.
Check References
98
in this way, you can find out how much work the agent secures for
them, what their commission is, how they work, how promptly they
pay, what responsibilities fall on the artist, and any other pertinent
information to help you make your decision.
You may also consider contacting some of the clients that the art rep
works with in order to get an idea of the impression that they make in
the industry.
Make Contact
Follow Through
If you’ve found one or more art reps that you’d like to work with, try to
follow up on your initial contact by sending updates on your new work
at regular intervals. You don’t want to overdue it by harassing them
every week, but you do want to try and build relationships with them
and stay on their radar, because even if they don’t see your potential
99
at first, your work may soon reach a level that they think they can
successfully promote.
100
How to Spot a Problem Client
The best time to get a feel for a client is your initial contact with them.
Whether you communicate via email, telephone, or face-to-face
meetings, it’s a good idea to pay close attention at this stage. If you
listen to what they say and how they say it, you can tell a lot about
their intentions and the way they might interact with you in the future.
101
Here are some common warning signs of a
problem client:
102
The list above should give you an idea of the more common red flags
that are thrown up by a potentially difficult client. The important thing
is to notice the warning signs and estimate their potential cost to you
and your business. Then, you can decide whether to run the other
way, try to educate them, or add a “Pain-in-the-Butt Fee” to your price
quote.
103
How Spec Work Hurts Your Business
Whether you are just starting out and looking to build a list of clients
by chasing after spec work, or simply desperate and starving, there is
one thing that I want to say to you right now:
There’s a reason why most artists get a look of rage in their eyes and
dribble and spit whenever they utter the words “spec work”.
104
When you do spec work, you waste valuable time
that can be devoted to:
I could go on and on, but the point is that there are an almost infinite
number of ways that your time and energy can be better spent to
advance your business, improve the quality of your work, increase
your exposure, and so on. Spec work rarely helps anyone but the
person receiving the free work. Remember that the next time you feel
the temptation to work for nothing.
105
How to Work with a Client’s Tight Budget
106
Here are some simple steps to try and make the
most of a client’s tight budget:
Educate
107
capable artist in the past.
Many people who are seeking out Illustrators for the first time assume
that they will acquire all the rights to the artwork that you create for
them. Suggesting lower rates for a limited use of the Illustration, such
as a single printing, can open their eyes to other possible ways to
meet their needs, while allowing you to maintain ownership of the
work for your own future use. In addition, this opens the door for
further usage agreements if the artwork does well for them or they
wish to print it in a different size, color scheme, or format.
Artists are a resourceful bunch, so I’m sure that there are many other
ways to work within a client’s budget. The main point here is to try
and be more creative with your business, and open the door to
alternative ways of meeting the needs of your clients, as well as the
needs of your business.
108
4 Elements of an Ethical Art Competition
All contest holders should define all details of the competition in the
call for entries, such as the rules, entry fees, list of judges, judging
criteria, and intended usage of the artwork.
In a fair competition, the artist should retain all ownership and rights
to the art, and the contest holder may only use or publish the image
109
as defined in the call for entries.
4. Insured Artwork
110
Appendix D
“What I Wish I Knew
When I Started”
111
What follows is a collection of quotes from Illustrators and members
of the Escape from Illustration Island community in answer to the
question, “What do you wish you knew when you first started out as
an Illustrator?”
“The one thing students need to really understand is that once they
graduate they are really only at the beginning of their education. I
wish I knew that then. The rest of an artists career is searching out
new ways to improve. I also wish I knew about the 10,000 hour rule.”
- Aaron Miller - aaronbmiller.com
“I wish I knew that doing what I was inspired to do was the key to my
success as an illustrator. While this seems a heavy handed
statement, I have noticed the pattern in the professional field of
illustration that those who are inspired for what they're drawing are far
more successful in their field than those who are merely drawing, but
haven't quite found the love of their subject matter and are just trying
to get by doing whatever for the buck. My audience will find me and I
can find them (especially with the help of the internet these days). I
spent way too much time previously trying to be like everyone else,
trying to draw what was 'safe' and 'marketable' and ignoring what I
112
truly loved and enjoyed. There's a business for every sort of artist,
just takes a little more doing for some than others.
“I'd say two things strike me as important to know about. The first is
just how important self-promotion, your online presence and branding
is. Building a killer portfolio website is so important - if you think about
it, when a potential client views your website, it's like being in a job
interview without your knowledge. The portfolio site speaks on your
behalf, so think carefully about how you create it. Also, setting up as
self-employed is daunting. Make sure you've always got savings, you
never know when you'll have dry months, and you have to consider
things like tax. Nobody teaches you about the business side, you
usually learn the hard way!
I also wish I had been taught the basics of bookkeeping and setting
myself up as an LLC or Sole Proprietor. These sorts of financial
processes were so intimidating to me when I was younger and had
113
no idea of where to even begin! Even many of the 'so you want to be
an illustrator' books I've read didn't really get too specific.”
- Jason Juta – jasonjuta.com
• What does the organizational structure of the place I work for look
like? (up and down the employee supply-chain) What happens
with respect to my artwork - why was it assigned, who made the
decision and why? How can I move within this structure? I have
just finished earning an MBA and am astonished by how valuable
this information would be (should be required) for our industry!
Currently, I am building a graduate course in Professional
Illustration Business Practices for the university that I teach at. I'm
very excited about the results of this survey and the dynamic
information shared on your website.”
- Cameron Wasson – cameronwasson.com
114
“I wish it would have occurred to me to look in the web for resources
some years ago when I first tried to get serious about art. The speed
at which we have all we need to learn is incredible, yet still taken for
granted by some artists. This continues to be a rich and satisfying
learning experience that can only be magnified by the enthusiasm of
this type of art community.”
- Jose A. Gonzalez – jaglab.wordpress.com
Probably the biggest thing I wish I knew when I started out is that
most other freelance illustrators out there have the exact same
questions as I do. I wouldn't have felt so "outside" of the industry.
Twitter helped change that immensely. I still have a few questions I
had starting out that I still do today, and most of them relate to getting
work and getting the word out. I can understand why other illustrators
may not want to share their "secrets", but it would be great to have
more insight on the marketing, self-promotion and "getting work" side
of things. Finding a good resource on industries to target and how to
go about who to and how to contact is something I am still working on
and learning at the present.”
- George Coghill – coghillcartooning.com
115
“My education was pretty good. The teachers I had talked about
pricing, how to promote, how to create great work that was personal
and useful in the markets that you were targeting, keeping yourself
fresh and experimenting, form a savings to cushion you in the dry
times, etc. Plus there are tons of books out there on all that stuff.
The one thing I felt I missed out on was about taxes. (till death do us
part) When you don't have a lot of money and your just starting your
career, getting a CPA isn't the answer. They charge a good deal. So
the only answer was to phone some people up, get advice and start
to deal with things. Different states and cities have different laws, and
a whole lot of other head aches. I just wish that I had been informed
about it then.”
- Daniel Fishel – o-fishel.com
116
reminders and more reminders. The net has to be cast wide and
often.”
- Marty Qatani - martytoons.com
“When I started freelancing full time, I got incredibly excited about all
the work I’d be receiving, the fun aspect of working at home, and
dreams of doubling my income and making a name for myself. In
other words, I let the fantasy overpower the reality, and learned some
hard lessons about what it really takes to make a living as a
freelancer.
117
some books that outline contracts and rates like “The Graphic Artist’s
Guild Book of Pricing and Ethical Guidelines,” and frequently check
web pages and forums that discuss the business of illustrating.
ASK FOR ADVICE. Know your competitors; visit their websites and
see what makes them successful. Sometimes other freelancers are
even willing to help you out, sharing their contracts to help you
develop your own.
118
“1) Start an IRA (or something similar) and have it automatically pull
$25 to $50 a month from my account.
4) Sit down with an accountant and figure out all of my tax write-offs.
Admittedly, I did this from the beginning and the annual tax refunds
(U.S.) were generally enough to buy a new computer or something of
comparable value.
6) Every time you move to a new computer, keep the old hard-drive.
Even if it has so-called “crashed”, 90% of the time there are ways to
retrieve some (or all) of the data on it.
119
done your job right, you’ll end up making those people look like rock
stars within their organization and, sooner than later, they will get
promoted to other positions — or move onto other companies.
11) If you work out of the house, get into the habit of working out
three times a week. Get into the habit while you’re young because it’s
a b**ch to get started with that once you get into your 30s and 40s.”
- Max Nomad - bgpublishing.com
“If I could travel back in time and whisper a few things in my ear:
1. Even though you are a visual artist, your writing will be very
important. Be concise, businesslike, and articulate. Spell everything
correctly.
120
2. Always do what you say you are going to do. This is good
business.
3. Follow up, follow up, and follow up. Don’t just plunk work out there
and then move on when it doesn’t get a huge response right off. You
are trying to get the attention of people who have lives of their own,
and you have to hit them at a time and place that is right for them.
You don’t know when or where that is, so increase your odds by
being persistent. Friendly, businesslike, non-annoying, but persistent.
6. You will also spend entirely too much time worrying that you are
imposing yourself on people by drawing all the time. Don’t do this
either. Talents are gifts that you give to others, and as long as you
have this attitude there will be no limit to the benefits that you can put
121
out into the world.
7. Try a lot of materials, pay attention to the results you get with them.
Use whatever medium you feel most connects with you inside. Don’t
draw vector graphics if that’s not how you draw. Try different papers.
Try wash. Experiment more. The more different things you try, the
more you will notice how your unique personality shines through them
all.
8. One of your favorite quotes is going to be, “Tools are not talent.”
As soon as you spend a bunch of time creating some elaborate
Photoshop thing, you’ll see someone who has done something
amazing with a #2 pencil.
10. Art is how we as humans discuss who we are and how we see
the world. When we look at ancient civilizations we look at their art to
see how they fit the world together. Never forget you are serving an
important purpose in what you do.
11. Draw with kids. It is an amazing experience and you will come
away a better artist.”
- Betsy Streeter - betsystreeter.com
122
“Don't be afraid to ask for help! (as some already mentioned it above)
Unless you have two sets of brains to learn EVERYthing that has to
do with freelancing, administration and all. I thought I would find all
the answers on my own....”
Verocska
“I wish I knew that negotiating can be fun. Sure there are a lot of
pitfalls and traps, but lately I’ve began to think of it as a back and
forth game, leaving things open ended…making options instead of
demands and conditions and not seeing what clients present as black
and white. Part of the reason I got into illustration is because it’s fun.
Negotiating IS part of being an illustrator, so it can be fun to! Also,
asking for work is not the same as begging. Or I could be wrong.”
- Stan Shaw - drawstanley.blogspot.com
So simple projects that should have been a few hours, turned into
many hours, effectively reducing my pay to around $5-10 a hour. The
worst is when they would ask for changes after final art had been
123
delivered. There was nothing to say I could charge more, if they
decided they wanted to change things. I was stuck.
“I wish I had someone to tell me to check my ego out the door when I
was younger. When I was fresh out of high school I thought I was
awesome, so the next two years in Fine Art school were spent being
lazy and unproductive. Oh, what I’d be doing if I were in that
silkscreen printing class today. What a waste!
I also wish I knew more about spec work and how it hurts the
industry. I wish I knew that ‘exposure’ isn’t really worth anything when
your work isn’t being exposed to anyone you’d like it to be. Unless it’s
for a charity or worthwhile cause, it’s usually someone being ignorant
of how the industry works or some schmuck trying to rip you off and
take advantage of you.
124
Currently I’m learning the ropes of pricing my work, and it’s kind of
tricky because in some cases I have no idea.”
- Melanie Matthews – bearprints.com.au
“If I could go back to the beginning I would definitely save myself from
burning out-I’d teach myself to say “no” when there’s too much work
offered. I remember there were times I’d forget to eat. That’s how
busy it was. It was my fault of course, no one made me take that
much work…but I think it’s important to know one’s limits.”
- Bojana Dimitrovski - blog.bojanadimitrovski.com
“I wish I’d been aware of EFII (and several other invaluable networks)
3 years ago – I may have taken the plunge into full time freelancing
earlier if I’d known that other illustrators are so helpful and friendly
and welcoming to ‘newbies’.”
- Angela Fernihough – studioanjou.com
“My illustration work is still done in addition to my day job, so I’m still
learning a lot of what is mentioned above. The issues of reasonable
pricing and contracts are something I’ve had the hardest time with.
That’s starting to work itself out as I learn more about the business.
125
And keeping track of where the money goes out and how to invest it
back into the business – while enjoying some rewards of that income
– are things I wish I was doing years ago.
At my day job I’ve learned a little bit about spreadsheets (the “anti-
art”), and I’ve seen what a great tool they can be to just keep track of
things. Each year, I get a little more granular with the data I put into
the forms. Not only does this help immensely at tax time, it also helps
me see where things stand so I can make plans accordingly. There
are many seminars and such out there for learning Excel… even if
you use Apple’s Numbers or OpenOffice, a lot of what you learn
about Excel can be carried over to these other programs.”
- Mike Shoaf – mikeshoaf.com
“The things I wish I’d known when I started were how to use time
management tools like the ‘getting things done’ method and relevant
programs like ‘remember the milk’ to make proper ‘to do’ lists. It made
me realize that time management was actually ‘action’ management
and my life, time and head are much more productive with it – there’s
no procrastinating or thinking ‘now…what do I do next?’ – all my
actions up to the next twenty years are already planned and I know
I’m working towards creating the circumstances in my life that will
look after my future as well as organize my current business. I
realized that marketing is really important too – it’s just about the
other 50% of your business and no matter what your skill level, if no-
one sees your work, you’re in trouble.”
- Ruth Ellen Brown - ruthellenbrown.co.uk
126
“I wish I knew how much more effective sending out mailers and cold
emails is compared to replying to random job posting online.”
- Nate Bear – Natebearart.com
“I think that learning and living through your business mistakes makes
you appreciate when you do something RIGHT that much more. It’s
all part of the process. That said, the one thing I wish I knew before I
started was better marketing skills. So much of my own art school
days was spent learning the drawing skills I’d need to become a
freelancer, yet so little of that time was spent on self promotion. Thus
when I opened my studio doors I had little to no idea how to get my
customers. Thankfully I’m the kind of person who is inspired by the
words “NO THANKS”. I’m hopeful that other artists don’t give up after
receiving their own rejections. Learn from each one and realize that a
NO doesn’t mean you’re not good. Rather the timing of your
submission was simply off.”
- Scott Nelson - ScottNelsonandSon.com
127
“When I first started out, I wish there was Escape from Illustration
Island. Period. I’m super glad it’s here now.”
- Linda S. Wingerter
“I wish I’d had the capital, guts and persistence to go into painting
(gallery work). I’ve had success with it when I was doing it for a while,
but like any other venture it takes time and investment to get it rolling
to build a following and make it stick.
The difference is that painting, you do what you want, the way you
want to, while illustrating you seem to be at the whim of many
bosses, art directors who don’t communicate with their bosses, a lot
of confusion and misdirection… of course there are as many good
jobs, but some of the snarky ones are real prize-takers.
Cover your butt, get a paper trail, and $ up front. Standard practice is
usually a third on startup (if they want your work, why do anything at
all for free… if they put up their $ it means they are ready to roll for
real) a third on submission of comps/tight sketches + a third on
128
delivery. A standing understanding of the difference between
corrections and changes and the amount they will be charged for
them.”
- Nate Owens - nateowens.com
“I wish I’d known that it’s a bad idea to do work for friends or family. It
always leads to bad feelings–either theirs or mine. First, the money
question is so awkward and weird. Then there’s the “do they like it or
not?” element. If they like it, they’ll probably ask for more or tell
others, who will then expect the same favor, and it’ll be hard for you
to say no. If they don’t like it, they’ll be in the awkward position of
having to say “It’s great!” or “Will you change it?” If they lie and say
it’s great, they’ll have to decide whether or not to use the art for its
intended purpose. If they don’t use it, they’ll be hoping like mad you
won’t notice, which is awkward for both of you. Finally, it’s wickedly
hard to say “yes” to one friend and “no” to another. (It’s a small world,
and word gets around.) In my opinion, it’s best to have a policy: “No,
sorry, I don’t do work for friends or family–not because I don’t love
you, but because I do!” I wish I’d known that when I started out.”
- Everdello - everdello.blogspot.com
129
out on my own to find clients. I found a niche for pen and ink
renderings soon after the internet was brought into our home, and
was able to make money doing customized work for clients. If it was
not for the internet, I probably never would have persevered as an
illustrator, but would have opted for more of a “fine arts” career. I
believe that any artist serious about making it in the biz of illustration
needs to take a good class on marketing, business and the incredibly
valuable field of licensing for artists.”
- Amy C. Moreno - amycullingsmoreno.com
“When I was starting out I wish that I understood that when someone
says “NO” that is merely license for you to try harder to get them to
say “MAYBE”. Then it is your duty to work even harder to get them to
“YES”.”
- Mark Kaufman – drawmark.com
“1) Save enough money to survive for 120 days. Whatever your doing
now start saving and then you will have enough time to think smart
and pad out your portfolio. Less stress makes it so you do not need to
be a money chaser and find yourself drawing for bad clients.
2) Advertise now.
130
4) Learn to sell in basic terms. Don’t just read books about design
and illustration. Read about general business practices too.
6) Style is not worth thinking about. Brand is. We got so sold on style
and so many of my friends don’t illustrate anymore. They didn’t work
on their craft and so found it hard to stay relevant. Trends, cycle.
7) Stop criticizing others. This was a huge lesson for me. Everybody
is different and while we try to keep our work objective, taste is
subjective and will vary from person to person. I used to see the bad
in all work including my own. Now It’s easier to be happy and if I
make a mistake learn from it after the fact. Not during.
8) Smile.
10) We all get there differently. I wish I had heard that a lot earlier.
11) What are your goals. Right them down and review them. I wish I
had truly taken this advice. I am not doing what I had intended
(although I’m now getting back on track).
12) There will be emotional ups and downs. BIG ONES. I am lucky
that my wife is so supportive but I would be depressed on my own.
Every Illustrator that came to my class to give us instruction made it
131
seem so simple. Now 10 years into it. I feel like it’s day 1 again.
13) Make your own projects. This is the most important of all the
things I wished I had known. Don’t wait for the awesome client who
will make all your dreams come true. I have learned that it’s better to
separate the job from the obsession by making sure I have my own
projects going. Now if I can just get them out the door.”
- Michael Grills - michaelgrills.com
132