When creating a career as an illustrator it's important to manage your time wisely. I have learnt over the last three years of University that there will be times when working on more than one project at a time will be very common. With this in mind it's important to keep organised and prepared for different deadlines and to be aware of how long different projects will take (some may be a one day project, some may be a few weeks).
Fortunately for me, I am a very organised person. I have lists coming out of my ears and calendars stuck on my walls so that I am aware of deadlines that are approaching. I have always been organised, but since coming to University and having to work on a handful of modules at one time, I have trained myself to keep up to date and to always be aware of the work I have to do.
Keeping a professional outlook on your career as an illustrator is very important as professionalism is what will bring back Client's to work with you again. Darrel Rees suggests "going to social events where you can meet clients or practising illustrators, or both, in a relaxed atmosphere is also helpful in building up contacts" (1). This is a good way of creating professional contacts without having to send out promotional items or continuously send emails. Getting to know someone face to face and getting a feel for their character and work ethics in person can be much more poignant and potential Clients are more likely to remember who you are.
Although creating respective contacts and clients is very important in the professional world of an Illustrator, it's also necessary to have a good understanding or legalities and finances.
Being aware of the average rate of pay for an illustration is important so that you are not undercharging or being under paid for your services. "An average fee for a quarter-page illustration is £250 in the UK" (2) with this knowledge you can then work out how much you should be paid for larger or smaller illustrations as "fees are not calculated on the basis of how long it takes to create an artwork, but are usually decided on the basis of the size at which it will be reproduced in publication" (3). Along with knowing these details, it is also favourable to know about 'kill fees', this is where "50 per cent of the full payment when work is turned down on or after delivery of rough artwork, and 100 percent if rejection happens on delivery of final artwork." (4). This is handy to know because if your client suddenly decides that they are going to take another route and no longer require the artwork you are supplying them with, you will not be at a loss and they are still in conjunction to pay you for the work that you have already done.
All of this information should be available in a written contract before the artwork is begun, so that both parts of the agreement are aware of the terms of the project and all legalities are covered. The most important areas to cover when creating a contract are, "What are you being asked to do?"..."What technical considerations are there?"..."What is the process?"..."What are the terms under which you are producing the work?" (5) these main topics will be covered with other sub-questions to ensure that all necessary information is covered and both parties are in equal understanding of the project.
Once the artwork is complete and in the hands of the client. The illustrator is then required to send the client an invoice for the work that they have done in order to be paid. "It can be said to consist of six basic questions. Who is it from? When is it dated? Who is it to? What is it for? How much is it for? What are the payment terms?" (6). Again, this document should cover all areas of legalities. With these important documents you are covered legally in order to be paid what you are owed for creating the artwork that is asked of you. It is also beneficial to double check any details you are not sure of with the client, and this can be done in an email. It's better to be safe than sorry and will save time in the long run ensuring all areas of the agreement are covered.
Now that I am aware of these details of the professional side of Illustration, I feel that I am more prepared for starting my career as an illustrator, as I'm not only required to create great artwork but also manage my business as an Illustrator as well.
(1) Rees. Darrel (2014) Page 19
(2) Rees. Darrel (2014) Page 70
(3) Rees. Darrel (2014) Page 70
(4) Rees. Darrel (2014) Page 72
(5) Brazell. Derek and Davies. Jo (2013) Page 121
(6) Rees. Darrel (2014) Page 84
Brazell. David and Davies. Jo (2013) Becoming a Successful Illustrator. Fairchild Books. Bloomsbury Publishing Plc
Rees. Darrel (2014) How to be an Illustrator. Laurence King Publishing Ltd.
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