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3×3 International Illustration Awards Show No.14

Friend of the LCS, art director Charles Hively, has asked us to share 3×3’s latest “call for” with you and we’re happy to oblige. Over the years, Charles has been a strong supporter of the LCS and illustration in general and it’s the least we can do.

Call for Entries! This year’s juried show is now accepting entries. Open to all illustrators at all levels in all countries for commissioned and non-commissioned work produced or published during the calendar year 2016.

Deadline: March 24, 2017. Final deadline is March 31st — no entries will be accepted after midnight New York time. We will add a $10 late fee to each entry (single or series).

Call for Entries PDF: 3x3mag.com…
Show Chair: Rod Hunt, Professional Illustrator

Matt Dixon’s Transmissions 3

Robots are awesome and they always have been! There are only a few days left to nab yourself a copy of Matt Dixon’s robot art book, Transmissions 3 via Kickstarter. So there’s no time to dawdle, visit kck.st/2kQtlLC and make a pledge.

Matt’s robot illustrations really are amazing and so much fun. He’s already met his target, so it’s just a case of pledging now and waiting for the book to be printed up and delivered.

Kickstarter: kck.st/2kQtlLC
Portfolio: mattdixon.co.uk

The Everyday Witch Tarot deck

The Everyday Witch Tarot deck was illustrated by Elisabeth Alba and we love it! It’s a fun, practical, easy-to-use deck for every witch and we can’t wait to get hold of a copy. As you can see, Elisabeth’s illustrations are charming and absolutely gorgeous.

Written by Deborah Blake and published by Llewellyn Worldwide the 78-card deck comes in a box kit with a magnetic enclosure that also includes a 264 page full color guidebook. etsy.com/listing/493198464/everyd…

The Art of Dan May

SUBMERGED (LIMITED EDITION PRINT) by Dan May

It’s been a while since we mentioned our friend Dan May. He’s such a talented artist and deserves all of the coverage we can give him, so we thought it was about time we mentioned his current line of prints and original art. Have a nose at danmay.bigcartel.com and if you decide to buy anything we’re pretty sure it won’t disappoint. We already have several of his pieces on our walls, we’ve even got a couple of originals. He should really trademark his tiny little brush strokes.

Dan May LCS interview 2009

So you want to be an illustrator?!

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The LCS isn’t the bustling creative web portal it once was due to the sudden and all engulfing rise of social networks like Facebook and Twitter. However, we still keep an eye on things and occasionally post an article or run the odd art related project (like Mail Me Art) when we get the chance. But when it comes to career-related and general advice, our new home for publishing these sort of articles is the HAI Staff Blog. We try to write and publish them when we can, but there are only so many hours in a day, as every self-employed person knows. Here is a list of all the freelance illustration advice riddled articles you may have missed over the last year.

Lots of people want to become or train to be illustrators. Some people take up the trade because they have a natural talent and others end up as artists because their mothers incessantly told them how good they were and they started to believe it! However you became or will become an illustrator, we’ve all got to start somewhere. As we live in a multimedia-rich world these days, it’s never been easier to find information and advice about the industry we all love.

Mail Me Art is still going strong…

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I’m sorry for the lack of updates. Mail Me Art is still going strong and receiving submissions for MMA4 (Open All Hour). Someone purchased all 3 of our books over the weekend from the LCS and they’re currently whirling their way to Germany. Thank you very much for the sale. I’ll be doing a pick of all the current mail art hopefully in the next couple weeks.

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Once I have them in hand I’ll scan them and post them up. The next exhibition is still in limbo, but as soon as we set a date and location you’ll be the first to know about. Leave a comment: facebook.com/mailmeartproject/posts…

Budgeting for Illustration, Know thy Client

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Part of what I do at Hire an Illustrator is have clients send me their job briefs and then make appropriated recommendations about who they should hire for their projects in the form of a list of candidates. As the Little Chimp Society is a community of illustrators and people who love illustration, I though I’d share a bit about how it works when it comes to budgets and negotiations, from my point of view.

If I know a client doesn’t have a budget for an illustration job I tell them they need to find one. If they have a small budget and they’d like to work with a quality illustrator I tell them they need to find a bigger one. If they don’t tell me their budget, I don’t ask them unless I suspect they don’t have one. The thing is, negotiating fees is between the illustrator and client. I can make recommendations or offer advice, but there’s a huge variation in what clients can pay and what illustrators charge. People are normally surprised at how affordable custom illustration actually is, even though it’s a very unique thing and not cheap.

A client is buying a custom piece of work and while it can’t be compared to say a custom piece of furniture, it has a lot of the same attributes going for it as far as it being a unique creation is concerned, so there isn’t an off-the-shelf cost. Plus it’s actually quite complicated when it comes to quoting on a job: there’s the experience and reputation of the illustrator to consider; there’s copyright; there’s usage; and there’s the size of the client and the industry they belong to, along with the value an illustration will bring to their project. As I said, it’s complicated. Life would be so much easier if we were all carpenters, we’d measure the space and then price for materials and labor without ever needing to take projections or alternative uses into consideration.

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When a client approaches an illustrator, unless they’re an experienced art director, they should be prepared to have the illustrator ask them questions they may not have thought of. Plus the client should make as much information about the job available to the illustrator from the start. This will allow the illustrator to create an informed quote. It also really helps if the client can tell the illustrator what their budget is, as only the client knows what they can afford. Most of the time a particular illustrator is approached because the client wants to work with them and if the illustrator wants to work with the client, they’ll try to work to the client’s budget. If the client’s budget doesn’t cover the illustrator’s fees, they’ll kindly refuse the job, or try to come to some sort of licensing or other arrangement that’ll make the budget work. Alternatively, if there’s any flexibility in the budget it may go up, it may go down. What it comes down to is both parties needing to negotiate the terms to find something the client and illustrator are happy with. It doesn’t have to be a long drawn out process, but the more upfront the client is and the less fishing they do, the quicker it will be. Illustrators know what rates they need to charge, clients know what they can afford.

Supply and demand is normal in the commercial world, but should be an afterthought when it comes to illustration. Every piece commissioned is custom and for something specific from it’s inception. Not working to a supply and demand model may be a foreign concept to a business-orientated client who primarily works with numbers, but this is why an illustrator should be aware of this and should know how to handle a client with that mindset… if the client’s expectations aren’t already being managed by an art director or middle man. What clients tend to miss is the inherent value a good illustration can bring to a project, not mentioning the creativity and ideas an illustrator may have. This is why a license is always a good idea too, even a simple illustration has a lot of inherent value and if an illustrator was to hand over the copyright, lock stock and barrel, they’re also transferring all of the image’s value and future worth. Clients don’t normally (and vary rarely) need the copyright to an illustration and it’s worth a lot more to the illustrator than it is to the client. This is why if a client demands the copyright to an image it can add 50-100% (sometimes more) onto the cost of a job. But licenses can have varying terms that allow a client to use an image for their needs. With an illustrator retaining some of its value via the way of a license, budgets and costs can normally be drastically reduced.

Finishing up, what I would say is if you’re an illustrator, make sure you understand the value of your own work and be ready to explain that to your clients. You know what you should be or need to charge and your clients know what they can afford. Communication is the key, work it out.

Artist Credits…
Research World Magazine / Ben Aslett / http://illo.cc/12408
The Lonely Goldfish / Andy Smith / http://illo.cc/10139

Social Round Up: Space, Negan and a Jake Parker video interview

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We saw this impressive work by Chris Hall for Ideas Fortress over on Hire an Illustrator the other week. Even though it’s for kids we might have to check out the Space app to see what we’re missing out on when it gets released. The artwork looks great!

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Mark Reihill posted up a Walking Dead work in progress to accompany the roughest cliffhanger in history! Actor Jeffrey Dean Morgan’s portrayal of Negan is spot on if you’ve not seen it yet, but you know the comics. This season of WD is one of the most intense so far, it’s such an exciting series. The official art and fan art is alway fantastic to see and I think the quality relates to how passionate people are about the show. Plus zombie are cool!

We’ve been a big of Jake Parker's work for a longtime now and there’s a great little Jason Brusker Youtube interview with him on YouTube, that we also thought was worth sharing. Check it out…

If you’d like to leave a comment, visit our Facebook page. Like the related post and have your say. As you know we no longer accept news submission at the LCS, but feel free to send us an email or message if you’ve got something you’d like us to check out.

Finding your niche!

It’s all well and good telling people you’re a Jack of all trades… if you’re a handyman. But even if a client doesn’t have a specific style in mind, you’re not going to stand out from the crowd. Not being able to show people that special thing you do means you’re not special at all, or to finish the saying… a master of none.

Judge Dredd - The Natural ©Rebellion

Judge Dredd – The Natural © Rebellion

I’m not saying people shouldn’t expand their horizons, it is just that it takes time to build a business and you shouldn’t run before you can walk. Illustrators should find something that they’re really good at and make sure any potential client knows it. You want to pigeonhole yourself and make sure you’re the go-to guy for something specific. Deciding to play to your strengths doesn’t necessarily guarantee work, but it does mean you’re competing for clients in a smaller field with less competition. By narrowing your market you’re actually making more work available to yourself and not less.

Where's Stig? The World Tour - BBC Books

Where’s Stig? The World Tour – BBC Books

For example if someone’s looking for an animator, they’re going to hire an animator and not a children’s illustrator who dabbles in animation. The Jack of all trades might not even be on the client’s radar if they’re not specified what they specialise in for the sake of wanting to not miss out on a job. The same goes for comic book artists – if that’s what you do, that’s what you should call yourself. People will hire comic artists for more than graphic novels and comics, but they tend not to hire people for comic work if they’re not a ‘comic book artist’. Also as far as I know, specialists or people who work in a niche market tend to get paid more too. Have a look at successful illustrators, I’m pretty sure you’ll agree the common thread is that they all have a specific style and that they tend to work for similar clients and do variations of the same kind of job, time and time again. There are exceptions to the rule, but not everyone can be Damien Hirst.

Find your thing and make it yours! The world is your oyster.

Artist Credits…
Judge Dredd / Graeme Neil Reid / http://illo.cc/528
Where’s Stig? / Rod Hunt / http://illo.cc/9747