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Questions and Answers is a collection of illustration related questions answered by top art directors, designers, editors, artist representatives and other professionals in the commercial illustration industry. If you have a suggestion for a question or know someone who might be a good candidate to answer a couple questions Advertisement
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How do you justify getting paid for what you do?
Ok, let's say this: I have more that fifteen years of experience working as a
graphic designer and illustrator. To be honest mostly as designer, Indeed I consider
all these years were kind of a long training in the creation of images based on
several illustration techniques, learning the possibilities of diverse programs
and messing up everything doing and experimenting with new materials. This experience
has given me enough tools to offer a good creative service, with a variety of
image sense and what I consider an original product. Certainly my background doing
graphic design for many, many years allows me to use and take advantage of prime
design elements as the function and color theory, composition and balance management,
etc. which reflects an effective result in the illustrations to communicate the
idea. How do you justify getting paid for what you do?
This is an easy question and I am happy to answer it for you.
How do you justify getting paid for what you do?
First, I'll say something about art in general: I think one interesting
thing about art is that many people think it is an unnecessary and
frivolous addition to the mechanical functioning of life and is
therefore devalued. The Bauhaus notion of "form following function"
is a perfect example of this attitude, which has become very pervasive in
much of our society, not only in design (and art), but also in people's
beliefs about life and themselves. Luckily, we have had many decades to
dismantle some of this ideology. Obviously form will always follow
function in the commercial world, especially in product and
architectural design, but beauty is something deeper than function. Or,
as it has been said before: Form is Function. It may not put food in
your belly or literally save your life. But it does feed the soul like
nothing else can. How many times have you been completely devastated
(in a good way) by a beautiful painting or an amazing piece of music?
How many times have you been completely devastated by a well
functioning product? I think, as humans, we crave beauty, and that is
why it is valued. To ignore this is to call ourselves machines, which
is a sad illusion. How do you justify getting paid for what you do?
I don't have to justify it. I come up with advertising and marketing ideas for
companies that help them to generate millions of dollars in income for themselves,
their workers and their shareholders. I've seen the results of my work in action.
When I met Steve Madden his company was about 3 million dollars. After my ad campaign
put him on the map, his company grew to 100 million. He has told me and my company
time and again that I bear a huge responsibility for his company's success. I
can name 5 other companies I've done the same thing for. In my business no one
gives you anything, you have to earn it. Every time a client needs a new campaign
or ad, everyone in the company works on it. It's called a gang bang. The work
that the client picks, wins. I've seen many creatives go for a long time producing
no work. The bosses of my last company for example. I did all the work; they pretended
they had something to do with it. I happened to be a person who almost constant
won those pitches. Therefore I concluded I must be pretty darn effective. At this
point in my career I feel I’m not being paid enough but I'm getting enough
to not feel cheated. In my business, actors, photographers and most illustrators
all have reps. They know what they should be paid per job, depending on the requirements
of the assignment. And believe me they get paid plenty AND deservedly so. So why
shouldn't I. It comes down to experience and confidence too. Some people have
this starving artist mentality. when you go around feeling this way, you leave
yourself vulnerable to be taken advantage of. the images created by painters,
illustrators, photographers, directors are selling lots of products and magazines
and newspapers. So don't fool yourself into some old thinking that artist shouldn't
sell out or earn their fare share. It ain't easy living in a big metropolis like
Manhattan. If you’re talented they should have to pay big coin to keep me
here. How do you justify getting paid for what you do?
I think this question is possible to bring a lot of lawyers and socialists involved.
It’s interesting. Maybe we can ask why anyone of the working people gets
paid. In the very early days workers got paid by food and cloth. A very simply
reason, so they could fulfill their basic human needs and live. Nowadays we are
paid by a substitute item called “money”. No matter we make millions
a year or only hundreds a year, the very basic purpose of owning money is to survive.
Apart from all other “needs” we are having these days. People work
and get paid. It’s conmen logic. How do you justify getting paid for what you do?
"Hopefully, I get paid for what I do because I am able to communicate ideas
in a visual way that is uniquely my own as a freelance illustrator. Therefore,
my talents are sought out from time to time in order contribute a unique vision
to whatever the particular assignment calls for. Great illustrators, as is the
case with any great artist/communicator, have the ability to teach, inspire, and
impart knowledge to the viewer in a way which at it's best evokes an emotional
response and at it's least should cause the viewer to think. This particular talent
and discipline, like any other discipline, takes years of hard work to hone and
become good at. Obviously, the better and more experienced illustrators are paid
more for their services and rightly so. I would say that my work as an illustrator
fits modestly well into that pay structure. Illustration contests are held every
year to determine who is that year's "cream of the crop" with regard
to illustration talent. Awards are given to the top talent, as is the case with
almost every profession today, and those individual talents are usually regarded
as unique and are widely sought out for their services which hopefully justify
the pay he or she receives for aforementioned services." How do you justify getting paid for what you do?
Being an illustrator is about much more than making beautiful images, it's
also about communication. Artists portray their own feelings and visions in
their work, as it's a very personal labour. But illustrators in most cases
are intermediaries in a communication process. Party A wants to tell Party B
something using pictures; that's where the illustrator comes in. How do you justify getting paid for what you do?
This is an excellent question because we live in a time where we are becoming
more globalized and connected by technology. It is also a very turbulent time.
Many people are finding their jobs pay less or vanish because the world is a different
place. If an automated computer can do your job or if your job can be done by
someone cheaper in another country, you are in big trouble. What seems safe today
can vanish tomorrow. How do you justify getting paid for what you do?
The short answer is that I provide a service just like any other businessperson from the hot dog vendor on the corner to the super fine nuclear technician in some 007 flick. Like that hot dog vendor or nuclear technician, I work hard at my job and also happen to love doing it. I always have the hope that when my art graces the cover of a magazine, illustrates an article or appears on some other product, that the image I create helps to sell that item or attract a reader to it. After all, as an illustrator, that is the goal. Hopefully my art helps my client to make a profit. In turn, I should have a piece of the pie for my efforts. Albeit a very small piece. How do you justify getting paid for what you do?
Great question. Obviously what we do as illustrators is not in the same
league as a Doctor saving lives for a cool 150,000 per year. I can't judge
it on an essential service basis. But I do believe we as illustrators
provide unique solutions for clients. In our case quality of work and name
and style recognition can help a magazine, campaign or publisher achieve
financial success. If a person buys a children's book because they like the
art or read a magazine article because the spot illustration piqued their
interest then we have done our job. It may be entertainment and look like
fun ( and most of the time it is fun!) but it does include hours of sitting
at a computer or drawing table coming up with professional concepts unique
to each illustrators style and problem solving skills. In the end we are
selling ideas and style through images. If the client can be successful by
hiring the right illustrator to represent them visually and we can all make
a few pennies in the process that justifies the fees. How do you justify getting paid for what you do?
It's mainly justified by the fact the one calling me to do the work cannot do
it themselves otherwise I wouldn't be receiving a call. That and my specific skill
sets increase my client’s creative potential so they have no problem compensating
me for the two areas I charge for in any given project. The first area of compensation
is to cover my time to do the work needed and the second area of compensation
is to cover the usage of the art I created during the fore mentioned time. Rarely
is what we do the end all in terms of the creative process, instead it's part
of a larger overall marketing solution so our justification is based in the realm
of how well we fit into that bigger picture. How do you justify getting paid for what you do?
I don't feel anyone should have to justify what fees they charge for their services,
nor justify getting paid those fees once the services have been rendered. It's
pretty much the system we live in; do work, get paid. It's an open, free-market;
we're each free to choose our rates and fees, as well as refusing work if the
payment they offer doesn't reflect the value of the work. How do you justify getting paid for what you do?
I think that I should be paid for what I do as an artist has a set of
skills that not everybody has. Artists can produce work that changes
the way that people see or feel about things, which is very important.
I was recently commissioned to produce a mural in an area of my city
that is seen as being a bit run down, which has a negative effect on
the people who live there. The response from the local people passing
by as I worked was great. To have someone working on a bright vibrant
piece of artwork in an area which people would normally hurry through
made people feel more positive in their surroundings and gave them a
sense of well being. To have made people feel better about their area
and them selves through the production of a piece of art is just as
valid as a treatment that a doctor can offer. How do you justify getting paid for what you do?
That’s a pretty loaded question. Illustration and animation is a product
like anything else. And I suppose I have enough talent, work ethic, sense of humor,
interpersonal skills, personal hygiene, and business sense to make it a viable
career option for me. Some of what I do is art directed, which makes me just a
pair of hands. And some of it is up to me to bring what I can to the project,
be it innovative character design, storyline, color, design and font choices.
And all that takes skill, thinking, time and effort. All of those are valuable
commodities.
How do you justify getting paid for what you do?
I feel it’s my job as an illustrator to create a visually pleasing and eye
catching picture that will grab the viewer’s attention and draw them into
the article/product/etc... Kind of like the catalyst between the viewer and the
article. A page full of text torture to read, illustrations break it up so psychologically
you feel more at ease reading chunks of text offset by interesting illustrations.
Illustration can pull readers or consumers in and get them to take notice or get
into articles or products that they might otherwise have skipped over. This interest
eventually converts into purchases/subscriptions/ad revenue/money for the client.
Illustrators create custom tailored concepts and translate them into a tangible
form on paper. So with that we illustrators earn our keep. How do you justify getting paid for what you do?
It would seem unnatural to need justify being paid for creating. I really cannot judge whether working in a creative industry is below or above any other occupation, though.. I suppose just as any other occupation it takes a certain amount effort to sustain. It seems that art is an essential element in life, whether it takes it's form on a canvas or an advertisement or architecture. I wonder how the world might look if artists should suddenly not deserve compensation! As for myself, I feel truly grateful when a person or organization appreciates my work and is not reluctant to trade for my time and energy. How do you justify getting paid for what you do?
I think doing a creative work takes a lot of energy. It is much easier to enjoy
looking at creative work. How do you justify getting paid for what you do?
I love what I do and if people want to give me money to use my work, then that's awesome. Regardless, I'll still be drawing and painting. I think that gaining clients and producing strong commercial work is the outcome from years of practicing my craft. The bottom line is that none of us would be doing this if it wasn't what we loved... we'd be working for insurance agencies or something. There's much quicker and easier ways to make a buck. How do you justify getting paid for what you do?
Although some people have a hard time taking artists seriously, when
I'm up at 3am for the third day in a row trying to make a deadline, I
think they can't pay me enough! We are under a lot of pressure to
create on the spot. It stops becoming this sort of ethereal art making
experience and more of a, well, job. I guess for me also, I need to
somehow justify spending nearly a hundred grand on art school! How do you justify getting paid for what you do?
The answer I have to justify getting paid for what I do is that people want to
pay me and I want to get paid. We all have to make money to survive. I decided
I work very hard to make sure I could make money doing something I love. I dreamt
of doing this, of satisfying my own personal desire to draw all day long. I create
what I create for very selfish reasons, I love it. I am doing exactly what I want
to do and I get paid for it. If you can find a way to enjoy your day and actually
get paid at the same time that is not something anyone needs justification for.
It’s justification enough. How do you justify getting paid for what you do?
Interesting question. It’s not something that I have thought about in this
way. I usually just chalk it up to providing a service and getting paid for it.
But the question as you pose it is asking me to justify, not simply testify to
a transaction. How do you justify getting paid for what you do?
The best way to answer this question is an explanation of my hobbies. I play guitar,
practice martial arts, do house repairs, camp, watch a lot of movies, and am insanely
critical about music. I don't get paid to do these things yet there are people
all over the world who make money off of something I consider a hobby. If I were
to ask any of these people the same question they would have just as hard a time
answering as most illustrators do.
How do you justify getting paid for what you do?
Sometimes I actually find it difficult to justify getting paid for what
I do. I really enjoy it far too much, and when I'm having fun putting a
picture together it seems ridiculous that someone is actually paying for
me to do it. From a wider perspective though, I think designers and
illustrators are as worthy of getting paid as anyone else in the art and
media industry.
How do you justify getting paid for what you do?
Illustrations have a very important role. Whether it's for an article or a book
they help the reader visualize what they are reading, if it's for a product it
helps selling that product. They are just like spices. Any meal can be consumed
without them but what a difference it makes if you add a little spice to it.
How do you justify getting paid for what you do?
It's my job so I expect to be paid. I work hard for all of my artworks. In your opinion which medium do you consider is the easiest and which is the toughest to work in and why?
This is a very good question! All of the different mediums are always fun and
enjoyable. These depend on their art styles, feelings, experiences, methods and
thoughts what mediums they consider.
In your opinion which medium do you consider is the easiest and which is the toughest to work in and why?
This is an interesting question if only because I have never considered it. For
me, working with an eclectic array of mediums is always fun and I don't find some
“easier” or “tougher” than others. They each have their
distinct challenges and require an artist to employ slightly different skills
and methodologies to work effectively within any given medium’s technical
parameters, but I welcome that because it forces me as an artist to view them
as poetic restraints that force me to visually express myself in (hopefully) unique
ways. For example, painting with creamy gouache on a sheet of gessoed luan board
encourages me to slather brush strokes that reveal the “bite” and
grain of the wood. In contrast, creating a piece in real 3D makes me consider
not ONE “heroic” angle, but accept the fact that the item will be
viewed from a limitless number of perspectives, so I try and almost evoke a sense
of “object animation” within the piece. Of course, most of my work
is created digitally. In 1995 I started creating my work on a Mac using Photoshop
3.0 -- and it was extremely hard learning how to do that. Today, I STILL work
in Photoshop 3.0, but have mastered the program to such a degree that I have found
ways to work with the program in ways it was never designed to be used. At the
end of the day, I honestly believe working in different mediums is a leap of confidence.
I'm a pretty quick study, so once I get into the materials and see how they work,
I can pretty much lasso the specific tools, implements or materials and make them
work for ME. In your opinion which medium do you consider is the easiest and which is the toughest to work in and why?
I think they are all fairly difficult to get proficient at. Each has its own advantages
and disadvantages, and each artist must dedicate him/herself to their chosen medium
in order to become proficient. I will say that certain media are easy to learn
at first, but they are all difficult to master. In your opinion which medium do you consider is the easiest and which is the toughest to work in and why?
I think as long as you know your medium and what it can do then there are no ‘easy’
or ‘difficult’ mediums. I really think it depends on your experience
with the method. As with everything there is a learning curve but once you are
experienced with your tools then certain things become second nature. Particular
methods, such as working digitally offer you a kind of freedom for experimentation
that you wouldn’t necessarily get with traditional media but I don't know
if that makes them ‘easier’. On the surface of things it looks like
taking a photograph is easy because all you have to do is press a button. The
reality of course is that it takes a lot more than that to take a really good
photograph. I think the medium which you chose is just one part of being creative.
What you do with that medium is the really important bit. In your opinion which medium do you consider is the easiest and which is the toughest to work in and why?
This is a good question but a difficult one for me to answer since I am not an illustrator and do not work in any one medium. From my perspective, as long as we can email it to the client that is what is important to me. From what I have heard, watercolor is a fairly tough medium to work in. if you make a mistake on your final, you have to start the piece all over again. Digital illustration seems like it would be the easiest to work in and make corrections on. In your opinion which medium do you consider is the easiest and which is the toughest to work in and why?
I think it’s different for each artist and it depends on their technique.
For me I love to blend and get soft edges so oils are "easiest" for
that method of painting. If you want a dry brush and get a textured look or you
want the paint to dry fast then acrylics would be a better choice. In your opinion which medium do you consider is the easiest and which is the toughest to work in and why?
The hardest medium to work in has to be oil painting. You need a whole room dedicated
to it. It takes forever to dry. There is the smell, the turpentine and the mess.
You need a sink that you can destroy to clean up afterwards. It is such a demanding
medium. Not for the faint of heart. It aint cheap, either. Then when you are finished
you have to photograph it perfectly in order to have a digital file. The easiest
to work in is ball point pen and a piece of paper. You don't need any skills or
training to do it. Even a 5 year old can participate in that medium. Plus it’s
cheap. In your opinion which medium do you consider is the easiest and which is the toughest to work in and why?
I wouldn't necessarily call it the easiest but rather more efficient in regards
to meeting deadlines and flexibility from art direction is the digital medium.
Toughest from my point of view being a digital illustrator is 3D applications.
They have a very difficult learning curve and even after learning the tools it
takes years to finesse your work flow to achieve a unique professional look that
doesn't look and feel like anyone else that knows the tools. Too many tool driven
illustrators in my opinion. In your opinion which medium do you consider is the easiest and which is the toughest to work in and why?
Well photography’s pretty difficult but that’s because I don't know
how to do it..... Of the mediums I use, screen printing is the easiest as it means
that you have to have an image planned out already, then you can just switch off
and print away.....The only thing you can really change once you start is the
colours, and even then if something’s not working its not going to make
an awful difference if its blue or red. I think the most difficult medium to work
in is to work totally digitally, (something I never do!) because then it’s
possible to do anything and you have no real constraints to work against, and
I think that takes away the fun. In your opinion which medium do you consider is the easiest and which is the toughest to work in and why?
All digital techniques and technical programs aside... I find pencil and ink to be the easiest way to get an idea out. I find watercolor painting to be very difficult, but very satisfying! While working digitally, doing vector illustrations comes very naturally to me because I can work with a similar process to my pencil and ink sketches. 3D programs are the watercolors of computer art! In your opinion which medium do you consider is the easiest and which is the toughest to work in and why?
Easiest - pen and paper - ease of use and total immediacy. In your opinion which medium do you consider is the easiest and which is the toughest to work in and why?
In my own experience I find digital illustration to be the easiest, I love both
bitmap illustration and vectors, they have their individual pros and cons as well
as specific challenges, but the amazing advantage of digital illustration is its
time travel feature. You can easily go back as many steps as you want and go in
a different direction, try out colours and compositions and change your mind as
many times as you like. I must confess that I always find myself starting a digital
illustration on paper and then take over with the computer, it just makes the
pre-planning so much easier. What would you tell young illustrators trying to break into the business?
"Short-term thinking leads to a short-term career. The protection of your copyrights is fundamental to your ability to support yourself as an artist, so it's critical to learn the business side of your field and insure that the terms you work under are fair." What would you tell young illustrators trying to break into the business?
How did you get started in art and illustration?
In 1983, I showed up at News America Syndicate in Irvine, Calif., with $8 in my checking account and a life-drawing portfolio. After a brief interview, the art director said, 'You're hired, I quit,' and walked out the door. I spent the next three years drawing infographics on acetate.
How do you like to see work from an illustrator?
Seeing a website probably provides the best view to what an artist is about and hopefully some of idea of their personality and interests. You can tell if they're focused on one style, if they have 'found themself' within their art, what type of work they're doing and probably how prolific they are. That website also says they care enough about their illustration to go through the laborious process of designing and putting up a website. It's still fine for an artist to email two to three low res jpegs to review in place of a website but the website is definitely more helpful.
What's your process when working with an illustrator?
There is a range depending on the background and experience of the artist but generally once I have decided I'm interested I just send them an email or give them a call to start the ball rolling. I will never tell an illustrator to keep me on their mailing list if I know I'd never rep them, I would never waste someone's time that way. But we only like to add so many artists in any given period so I don't always take on every artist I like. Sometimes I see something so good in only one or two illustrations that I tell an artist to keep me in the loop, but the way they develop isn't always what suits me in the end.
When looking at an illustrator's website what type of presentation do you like?
I've seen all kinds and the ones that impress me the most are the ones that come across as completely unique and connected to the creative POV of the artist. A great website does more than showcase your art - it showcases who you are as an artist and an individual. I even bookmark great websites of artists I don't rep just because I love visiting them, it's like going to a great art show without leaving your office.
What advice would you give to illustrators?
Look the references and what all other people are doing around and try to find your own way, sometimes is hard, but is very compensating and fuuny when it obtains. How did you get started in art and illustration?
Ever since a very young age i've had a passion for drwing and art. I studied art and design at art college and specialised in graphic design. I usually combine typography, illustration and photography into my work and always aim to make it as organic as possible. I find it essential in my work to give it a spontatious feel, I think this helps retain the energy that's put into it. What advice would you give to illustrators?
Be passionate. Never give up and always push yourself. Seeing your work out there on album covers and magazines is one of the most rewarding things that i've experienced. always try and get a credit on the work with a web link or email address, you never know who's going to see your illustrations and could lead to further commissions. Try and get as much exposure as possible good work speaks for itself. How do you like to see work from an illustrator?
Most mass emails get forwarded to my junk folder so I never even see those. I do look at my mail even though so much goes in the garbage, I still think it's probably the best way to get work in front of me at a reasonable cost. The best route is to call a CD set up a time to come in and show a book, pound the pavement. It's always nice to put a face to an illustration and get to know the person you might be working with. How do you decide on using illustration vs. photography?
It depends on the concept or direction of the style of design. If it is a period piece where an illustration might have been more probable a solution I might lean that way to keep it authentic. If it is a traditional ad type design that shows a product that is readily available to shoot I would go with a photo. It's totally up in the air really. Unfortunately budget and timeline are big factors that play a major role. But if you only going to be good for only one of those go with speed, the ad agencies I have been with are always running to the final hour and speed wins over money the majority of the time. How did you get started in art and illustration?
I started in art as a kid by pure instinct. My interest in illustration, on the other hand, developed later on, once I became much more of a pragmatic person and understood the challenge behind successfully communicating with an active audience.
What advice would you give to illustrators?
Get your work out there as much as possible. You never know who will see it. How did you get started in art and illustration?
I don't have any art school experience but liked to draw and managed to get three years of design experience at a small studio in Colorado. From there I just starting making work and calling up art directors. What advice would you give to illustrators?
Find your voice, never give up! Why should an illustrator take on a rep or agent rather than represent him/herself?
Not all illustrators should be represented, only the ones that really want to be. If an illustrator has the time to do all that a rep or agent does, then when do they find the time to illustrate? At AGM, there are 4 women working full time, about 160 hours a week. They handle all the business development, marketing, promoting, advertising, public relations, preparing of quotes, negotiating billing ect. All this for a 25% commission of the business that they bring in. If any illustrator doesn't see the advantage in having a great rep, then they shouldn't have one. What is the most common problem you run into when working with illustrators?
Can't say there are any problems as such. The most disappointing thing that AGM has faced over the years is the lack of loyalty from young illustrators. . There have been far more wonderful moments and great achievements that AGM has shared with freelance illustrators. There is nothing more gratifying, then taking on a freelance illustrator that is unknown and launching his/her career. What changes in the illustration industry have you seen in the last 10 - 15 years? What are some recent trends?
Lots of changes and not all of them good. AGM for one, is really against stock and royalty free images. In fact, AGM has an advertising campaign coming out this year in CA magazine, condemning just that. On the bright side, the internet has really changed the way we do business. Its fast and it makes it easy to represent illustrators from around the world. If an illustrator has a limited budget to market themselves, what are the top 3 marketing tactics that have the best return on investment?
AGM strongly believes in direct marketing and sending out promos, cards and advertising. Anna is not too keen on Annuals and thinks that they are a thing of the past. The future is the internet and websites such as http://www.illustrationmundo.com who are hot and frequently updated. If Anna believes strongly enough in someone, she will usually lay out the money to help him/her get started which she has done many times in the past. Anna also strongly believes in having her illustrators participate in contest and contributes 25% of the costs. You receive over 4000 submissions a year from artists wanting to be represented. What are some of the most important work and personality characteristics you look for in a new artist to represent?
Yes we do receive quite a few inquiries from all over the world and feel honored that illustrators have such a strong interest in AGM. It makes us very proud to be so respected and sought after. The most important thing that Anna looks for when taking on a new illustrator is of course style, but the personality of the artist is very important to her as well. She looks for people who are passionate about their work, honest and friendly. Professionalism is a must as well. Lots of illustrators seek an artist representative in hopes of finding more illustration work . . . but an artist representative does much more than that . . . can you please define your role more specifically?
At AGM we work closely with our artists and manage all aspects of their careers. This is why we call ourselves " Anna Goodson Management " and don't just refer to ourselves as Reps. We work together with our artist and discuss their style, direction and portfolio. We handle all aspects of the business development, marketing, promoting, and public relations, leaving our illustrators to concentrate on illustrating. Who are some of your favorite illustrators and why?
Deanne Cheuk - because she is so damn creative. Just the compositions of her work are inspiring. Her colors and subject matter for the Mushroom Girls stuff ... UPSO ... KAWS of course ... Grotesk ... N8W! They're just all very creative and progressive in ways that inspire myself and others When looking at an illustrator's website what type of presentation do you like?
Not much flash, if any at all, the site should never get in the way, and their work should be shown in large images with some kind of description. Also, an information section with some good or interesting info on them is nice, but no - please don't put your favorite bands or your favorite movies in your profile. Clients, actually nobody, cares. Leave that for your MySpace. Actually, don't have a MySpace. I can totally see your work being used for fashion and perfume .. have you done any work for these industries? How do you approach clients you want to work for?
I have done work in the fashion industry, not much though...and no, I haven't done work for perfume clients yet. I'd love to though! When I want to work for a client I usually try to find the art director's email address and get in touch with them that way. Yes, it's that simple and that's literally about all I do to get a hold of people. Just a simple email! What can illustrators do to make the experience positive for an art director?
(understand the idea quickly, take feedback well, work quickly .. etc) BE ON TIME! I've learned this the hard way by being late for clients and it's not a good look. It's something I'm definitely working on and always trying to get better at, be punctual. Be early if you can. But not too early, it will make you look like you didn't take your time. How do you like to see work from an illustrator?
If you mean after I've begun working with them... at first digitally, in pencil or linework. I like to have the chance to work with the illustrator vs having him finish the work and say here you go. Or even ask for comments at that point. If its finished, you don't want to nitpick it. Then it feels like your telling them how to make art. I wouldn't want anyone to tell me how to paint a painting. I paint what i want, and if i'm happy that's all that matters. Fuck you if you don't like it.
So, starting with pencils helps me as the Art Director bring some of my vision to the illustration, and makes me feel a bit more comfortable commenting. And then being able to comment in stages and have a say when it comes to color helps a lot. If you, as the illustrator, are working with a good AD, he will not only make your work a bit of his own, and appease his client, but he will make it better. He will challenge you to think of things you never would have. Help you focus on an idea vs. just a cool piece of artwork. If you work with a bad AD, he'll fuck up your illustration and take you on such a hellish journey, that you'll wish you stayed home.
I like to get finished art digitally, and with some sort of color print to match. That's if the image will be reproduced digitally or will be in a publication.
If you mean how do i like to see work from an illustrator when looking for an illustrator, i would say online in the context of a well-designed site that is fun to navigate through. How do you decide on using illustration vs. photography?
It almost always depends on the direction from the client and on the project at hand. Its usually very clear in the beginning if it needs a photo or if it needs illustration or neither, and maybe it just needs some general design or artwork, Photoshop compositing, etc to make it work. Just really depends. Also, the strengths for me lie more in combining photography with design since most of my traditional illustration and drawing work is a little more 'out there' and not as accessible to clients in style. How do you decide on using illustration vs. photography?
I guess i kinda touched on that. I'm more of a photography guy. I've been trying to branch out into using illustrators a bit more. I've worked with some good illustrators, and a lot of them that have been difficult to work with. I guess as the Art Director usually has a bit more control using a photographer. I can control casting, sets, props, background, style of photography, and in retouching, I can ultimately make it whatever i want. I can direct a Photo illustrator on how tom make it what i see in my head.
With an illustrator, you let go a bit more, and allow it to become his or her peice of artwork. You really have to trust the illustrator and let go of any pre-conceived notions that you have, or you end up driving him and yourself crazy trying to achieve what is in your head. I choose illustration when i know something is virtually impossible to achieve in a photograph, or if there is a specific mood or attitude that i know can only be achieved through illustration. How do you go about finding an illustrator? Most times, I talk to the Art Buyer about what I'm looking for and hope they can find me some illustrators that suit the project and the style that i am looking for. If I'm doing a search on my own, I'll think of a key word, or some sort of reference point, and google it. For example, a while back I was looking for someone to do some type for me. I wanted it to be hand illustrated, and I wanted the headline to hold together and make the shape of a wave of scent coming out of a bottle. The closest thing to what i wanted visually was type from old silkscreen rock posters of the 60's and 70's. So, I googled some of those keywords and found a lot of great poster sites that had illustrators listed next to the posters. I ended up using a friend of mine that is a comic book artist to do the finished art, but used those posters i found on line as reference for him. Honestly, I don't think there is a real great way to search a huge databank of illustrators. And in the not so distant past, Illustration was not real hip in advertising. Photography, or manipulated photography was looked at as much more contemporary. Recently, it seems as though the solution of photography has become fairly obvious. Illustration is a bit more unexpected and fresh. As long as the illustration style itself is unexpected and fresh. But if an illustrator comes out wit |
