Taking Questions on The Business of Illustration

[RichardSolomon]

I've been an artists representative for over 20 years, and I look forward to a weekly dialogue with the conceptart.org community. I promise to be informative, realistic, and hope to inspire you... let's roll!

Leave questions for me here, and I will respond at the end of each week. The ball is in your court.

[DSillustration]

Krista, is that you?

[Grief]

how is it that you like to be approached by artists? i guess i'm a bit in the dark about how the actual relationship and introduction to the artist and representative initiates.

would you suggest introducing one's self in person? or do emails of inquiry usually suffice? do you scope-out prospective artists, or do you let them all come to you?

ive talked to a few gallery directors (and i don't know if they were just trying to intimidate me) but they said things such as "if you send a portfolio out of the blue, we'll throw it away without opening it", and that if you just walk in off the street and ask to meet with them they'll blow you off.

thanks for your time mr solomon, and welcome to CA

[Brashen]

That's nice. I don't have any questions per say but I'm sure someone will come along and shower you with some.

Best of luck!! And Welcome!!

[Nrx]

Wow thanks for your time and offering this is a amazing oppertunity (i remember when i got to ask android a question on the webcast was such a massive motivator)
so heres mine,

What are the worst things i can do as a artist looking for work in your opinion? (id be interested to here your opinion on things like how i price myself especially, but also your opinions other areas such as personality(what things immediately send up red flags when talking to a employer? ) and portfolio are massively massively appreciated)

then on the other side of the coin, What are the best things i can do to impress a employer? (again im more interested in things in reguard to how i represent myself than actual artwork but all your opinions are of massive value to me! )

Thats all that i can dredge up for now, but therell definately be more

[Rist]

Hi mr Solomon,

I am going to be graduating next year with a BA honours degree. Do you have any suggestions that may help me find a job as an artist? My areas are both in illustration and graphic design. I live in the UK.

Do you think it would be best to concentrate on one or the other (illo and GD), or do as I am and try and get a job at either profession?

Thanks for your time.

[Jason Manley]

this is a direct connection to the guy who leads the folks who I learned a bunch of business and industry stuff from. if you are wanting to learn about the field of illustration and art, this thread will be a place to do it.

thanks Richard!

[Dizon]

Yes! This is going to be a gold mine of information! Thank you very much!

[Arshes Nei]

What made you realize this was the career of choice?

What still bothers you most when dealing with dealing with artists you represent, and in turn what bothers you most when you have to deal with clients for your artists?

What advice do you have for artists who may need a representative and what signs do you think artists should look for when they may realize they need a representative?

[Bill]

Mr. Solomon

Thanks for making yourself available. Anybody who knows anything knows that that is a very big deal.

My question: 6 years ago when I was on the ispot regularly the general tone was pretty miserable. The board was mostly populated by print illustrators who were, at the time, giving the impression that anyone trying to support themselves through illustration was doomed.


Eventually I found this place and there seem to be so many development and production artists here who are completely thrilled with where they are in life. The tone is so much more positive.

I wonder if you have seen talent transition away from the print world as a trend. I also wonder if you might have predictions as to what other avenues might eventually present themselves as viable opportunities for drawers to make a living.

Thank You

[J Wilson]

Originally Posted by Jason Manley

this is a direct connection to the guy who leads the folks who I learned a bunch of business and industry stuff from. if you are wanting to learn about the field of illustration and art, this thread will be a place to do it.

thanks Richard!

And this is one of the reasons why I love this site so much. There aren't many places you can go and find people so willing to openly share so much inside information on a regular basis.

I'm sure I'll think of some questions soon enough

[Elwell]

This is so cool.

[TomatoFish]

Oh wow. I was just thinking about this in class today!

Ok, my questions are about money. I'm a freshmen at an art institute majoring in illustration , and so far I haven't gotten any answers from the people I asked there, so...

I really want to know how things are priced.

What is the average price of, say, a character design?

Is it common to charge more for traditional works than digital, because of supplies?

What would be the average price of, say an 18 by 24 painting of 1 character with a moderately complex background?

What is the average salary of a freelance illustrator/concept artist?

Thank you so much for doing this!! We really appreciate it. I may have more questions in the future.

[Opilione]

What's your opinion on spec work (work that you don't get paid for but could potentially be beneficial to your career)?

[Jason Manley]

Fetid there is no average price for a character design. Salaries and prices are different in every city of the world...as far as the entertainment industry goes...and every job is of varied complexity. Salaries and pricing have been discussed at length on these boards, and you may search to find the previous threads where all this information is covered.

information related to the business of illustration is probably appropriate but I want to be sure that Mr. Solomon is not wasting time on such things that have already been covered, at length, here on the boards. Please use the search and see the employment forums regarding pricing.

Jason

[arttorney]

This is a version of the same basic question by NRX, Rist, and Arshes Nei with perhaps some other nuances:

We know the established talent is an easier sale for you than unproven people just because of their track record. Still, there are many people here who are less than established, and also many who agonize over whether or not they are "good enough" or "ready." In those threads the answer is often given that you are a "professional" if people are willing to pay you for what you do.

Approaching an artist's representative no doubt runs a little deeper, in that it is not about a single sale so much as it may be a career watershed. At last the question: What form of self-examination, including but not limited to self portfolio review, would you recommend for artists so they can know if they are able to put their best foot forward (as opposed to needing to go back to the old drawing board).

Put another way, I suppose there are people who would like to know how best they can do a reality check on themselves before they make contact.

[Renegade89]

Greetings Mr Solomon.

First of all, many thanks for the opportunity. I though i´d take the chance to add a couple of questions of my own curiosity.

1- About diversity inside a portfolio. Is it a good idea choosing an specific field of illustration to focus on and include works that show consistency, or keep it open and making it as varied as possible to show versatility?

2- When reviewing a group of portfolios, with all of the artists meeting the standard for a job. What are the other factors that come into play to set one of them apart to be hired? What are other things that you might look for and consider in an artist work outside of technical skill that makes it more suitable?.

[RyerOrdStar]

If one has two styles of illustration that they can do, do you recommend creating two portfolios to showcase these different styles, or create two identities for the two styles?

As well, is sending a mailer enough to get the attention of prospective clients or should one send the entire portfolio?

Is there any chance for an uncommissioned artist to receive representation or will agents refuse to even consider the portfolio?

[Arshes Nei]

I have another question.

Since you've done this for over 20 years, how has internet changed your business model in representing various clients if at all?

[dbclemons]

I have questions about how you handle your business, Richard. Can you describe your business for us and how you connect an artist with clients? What do you do when you represent artists? What do you do after that connection is made? Do you specialize in any one area or genre, and do you prefer artists who have a range of styles and ability or specialize in one type of art? Do you facilitate the projects themselves in any way, or just bring the people together? Lastly, if you don't mind my asking, how do you get paid?

[Blue]

With the way the market is bending these days, what are the best fields to dab into? I know work can be found almost anywhere, but where is the greatest demand? If the economy crumbles (hypothetically) it would be nice to have a job which doesn't crumble with it!

edit: specifically for someone with an illustration/painting background. Traditional/digital balance.

[tatiana]

I've been an artists representative for over 20 years, and I look forward to a weekly dialogue with the conceptart.org community. I promise to be informative, realistic, and hope to inspire you... let's roll!

Leave questions for me here, and I will respond at the end of each week. The ball is in your court.

What a great idea and opportunity! I look forward to being inspired...and, of course, have subscribed to this thread. I'll definitely be posting some questions, too...soon.



t

[Grendel Grack]

Thank you for taking the time to answer our questions, Mr. Solomon. Your comments will be very much appreciated.

What are some common contract issues that illustrators should be prepared to negotiate? What are some mistakes that new illustrators tend to make regarding this?

Do you tend to represent artists for the duration of their careers or is there a standard amount of time that you work with an artist?

[Saturns Gate]

Thats really nice of you to take the time out of your day to come here. Thank You. I don't have any questions that have not already been asked so I will listen and learn. Cheers!

[Elwell]

I'd just like to note that Richard has already answered some of the questions asked here in his CA Podcast interview.

[James Wolf]

Hi Richard, thanks for the opportunity, I was wondering if you could clear something up for me as I've been pondering whether I should start considering the option of have a rep, My college professors had said that you should only get a rep if you are so busy that you cannot seek new jobs by yourself and that you need to be making at least 30,000 on your own for a rep to even consider working with an artist. I work very hard to find freelance work but do not currently make that much through my freelancing alone, Do you feel my professors statements were accurate? I suppose it would really depend on the artist representative but I just thought id ask since you are being kind enough to offer your knowledge

[Icon]

Hello Richard,


Thank you for this wonderful opportunity.

My question is about artist royalties. I know many artists prefer a flat fee with 50% up front, however if the possibility for royalties arise, whats a good percentage to ask as an artist? If the product relied solely on your art (for example, an illustrated book or a deck of cards) what would be a fair percentage both for the artist and the client?

Many thanks in advanced, I eagerly await your response.

-Karla

[2100]

Hello Mr Solomon, thank you for being so incredibly generous with the ConceptArt.org community. Your interviews with Jason Manley has been a rare insight. We all really appreciate you for sharing your time here.

Can you comment on the rising level of competition in the industry? Smart artists know they can survive by helping each other develop, building alliances, and working together. This community is a golden example of successful people sharing their knowledge for the betterment of their industry (The higher we set the bar, the more demand there will be for excellence). However with production costs skyrocketing, and production companies outsourcing an increasing amount of work- could it be that this mentality has backfired? Or was this scenario unavoidable anyways? I don't know if there's anything we can do about outsourcing (as it becomes more convenient/necessary to do so), but we need to make an effort to protect the community and as many jobs here as possible. What can we do as individuals to ensure our own survival and to protect the jobs of our peers?

[RichardSolomon]

I am responding to your inquiries and questions in various modalities, including video and blog posts. Yesterday I sat down for a Q&A session and answered nine questions that I thought not only were relevant but had universal interest. These will be edited and put up on youtube ASAP. I or my staff may also do a few blog posts related to some of these topics. Keep your eyes open, they'll be up soon! As for the rest...

#5 Nrx: I know this might sound cliche, but in reality just be yourself. After all, who else can you be? The nice thing about art is that it tends to speak for itself. If you're white or black, female or male, short or tall... in the end the art will stand for itself. And when it comes to the art, as I've preached for over 25 years, you must develop a signature style that has you written all over it, and that style has applicability for multiple projects and solutions. If you can do that and you're consistent, with a good marketing plan, the cream will come to the top.

Your job is not to be an art director's buddy. Take a professional stance, speak in full sentences, and NEVER be a wise guy.

#14 Opilione: A very tough question to answer at any stage or any level. Obviously, never make it a habit. But there have been some really big jobs where we competed for very low fees, even a few no fees, because the prize was so big and I always have great faith in the illustrators I represent. I prefer what we call the 'step deal' where we're willing to take a small fee as long as the art either stays at the pencil rough stage or stops at presentation stage only. Once the art is going to be used by the client they're making money out of your art, so you should share in the profits.

#17 Renegade89:

1- Unless you have elected to work in a very very specialized area (for instance: medical illustration or purely nature-related)... I would not advise any artist to be a 'one trick pony.' Show a diversity of subject matter with a singular signature style. I think the best thing to do would be to look at our two websites (www.richardsolomon.com and artonagrandscale.com) The images that we chose, after a great deal of careful consideration, represent what I consider my best foot forward for the artist. Therefore if you study our websites inversely, you may learn about how to present yourself.

2- I believe this question would be better directed to an Art Director or Creative Director. I'm an agent, and I look at portfolios for possible representation. But by the way, there is no equality in art. There always is someone who catches the eye of the client- that's the truth. Other factors may be timing and money.

#19 Arshes Nei: 100%. Some years ago, most of the jobs came through the telephone, now the majority come through email. Also some years ago I used printed samples, promo kits, direct mail, and I had two full pages per artist in two directories. Now I have 1 page per artist in one directory, The Workbook, and everything else is digital.

#21 Blue: You're asking the $64 question. If I could answer this, I'd be set for life. My philosophy has always been that if the artist has a signature style, his work is applicable across the board for a variety of subjects. He or she protects himself. In this way, an artist can switch from doing a picture book to an add to an annual report to a theater poster, etc etc... you get the idea. It's style-driven, not job-driven. In my group Gary Kelley may be the epitome of a great artist who has a wonderful, accessible style that can be and is used for every conceivable type of project.

#27 Icon: First off, I never get 50% up front... we always do a third upon signing, a third upon completion of all concept roughs, and a third on completion of finished art. Royalties are great, but as they say, a bird in the had is worth two in the bush. So I would tend to trade royalties for a higher creative fee. As far as the percentage is concerned, that's something that's usually dictated by the client, and you can refine it. ....make sure you don't sell secondary and tertiary rights without getting paid for them.

This wraps up our first week of written Q&A. I'll get the answers to the rest of the questions up asap. Looking forward to speaking to you all again next week.

[RichardSolomon]

I am responding to your inquiries and questions in various modalities, including video and blog posts. Yesterday I sat down for a Q&A session and answered nine questions that I thought not only were relevant but had universal interest. These will be edited and put up on youtube ASAP. I or my staff may also do a few blog posts related to some of these topics. Keep your eyes open, they'll be up soon! As for the rest...

#5 Nrx: I know this might sound cliche, but in reality just be yourself. After all, who else can you be? The nice thing about art is that it tends to speak for itself. If you're white or black, female or male, short or tall... in the end the art will stand for itself. And when it comes to the art, as I've preached for over 25 years, you must develop a signature style that has you written all over it, and that style has applicability for multiple projects and solutions. If you can do that and you're consistent, with a good marketing plan, the cream will come to the top.

Your job is not to be an art director's buddy. Take a professional stance, speak in full sentences, and NEVER be a wise guy.

#14 Opilione: A very tough question to answer at any stage or any level. Obviously, never make it a habit. But there have been some really big jobs where we competed for very low fees, even a few no fees, because the prize was so big and I always have great faith in the illustrators I represent. I prefer what we call the 'step deal' where we're willing to take a small fee as long as the art either stays at the pencil rough stage or stops at presentation stage only. Once the art is going to be used by the client they're making money out of your art, so you should share in the profits.

#17 Renegade89:

1- Unless you have elected to work in a very very specialized area (for instance: medical illustration or purely nature-related)... I would not advise any artist to be a 'one trick pony.' Show a diversity of subject matter with a singular signature style. I think the best thing to do would be to look at our two websites (www.richardsolomon.com and artonagrandscale.com) The images that we chose, after a great deal of careful consideration, represent what I consider my best foot forward for the artist. Therefore if you study our websites inversely, you may learn about how to present yourself.

2- I believe this question would be better directed to an Art Director or Creative Director. I'm an agent, and I look at portfolios for possible representation. But by the way, there is no equality in art. There always is someone who catches the eye of the client- that's the truth. Other factors may be timing and money.

#19 Arshes Nei: 100%. Some years ago, most of the jobs came through the telephone, now the majority come through email. Also some years ago I used printed samples, promo kits, direct mail, and I had two full pages per artist in two directories. Now I have 1 page per artist in one directory, The Workbook, and everything else is digital.

#21 Blue: You're asking the $64 question. If I could answer this, I'd be set for life. My philosophy has always been that if the artist has a signature style, his work is applicable across the board for a variety of subjects. He or she protects himself. In this way, an artist can switch from doing a picture book to an add to an annual report to a theater poster, etc etc... you get the idea. It's style-driven, not job-driven. In my group Gary Kelley may be the epitome of a great artist who has a wonderful, accessible style that can be and is used for every conceivable type of project.

#27 Icon: First off, I never get 50% up front... we always do a third upon signing, a third upon completion of all concept roughs, and a third on completion of finished art. Royalties are great, but as they say, a bird in the had is worth two in the bush. So I would tend to trade royalties for a higher creative fee. As far as the percentage is concerned, that's something that's usually dictated by the client, and you can refine it. ....make sure you don't sell secondary and tertiary rights without getting paid for them.

This wraps up our first week of written Q&A. I'll get the answers to the rest of the questions up asap. Looking forward to speaking to you all again next week.