How to be an Illustrator

How to be an Illustrator

Darrel Rees

Language: English

Pages: 168

ISBN: 1780673280

Format: PDF / Kindle (mobi) / ePub

This book offers practical help and guidance to aspiring illustrators. All areas of the job are covered – how to create a portfolio; the most effective ways to approach would-be clients; how to prepare for meetings and negotiate contracts; and how to handle, deliver, and bill a job. There is advice on how to avoid the pitfalls that can undermine crucial first impressions; how to set up a studio; and how to maintain a flow of work and manage one's time and cash. Success in self-promotion, creating websites, self-publishing, and the pros and cons of agents are all explored.

International illustrators are interviewed, discussing how they got their break in the industry, their experiences with clients, their methods of promoting work, and more. In addition, leading art directors describe their approach to commissioning illustration, how they spot new talent, their thoughts on promotional material, and their advice to up-andcoming illustrators.

Packed with useful tips gleaned from the author's own career as an illustrator, and his work as an agent handling some of the best new talent, the book is an essential read for anyone looking to succeed in illustration.

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contents. I have used these and found that they do improve the overall feel and quality of presentation, but the sleeves tend to scuff when they rub against one another, so they wear more quickly. Given that portfolios get handled a lot, keeping an eye on this kind of thing is part of the general maintenance and upkeep of your folio, along with refreshing its contents. The next level of portfolio within this ‘standard black’ category is the leather binder that is designed to have its own carrying

to get an appointment, ensure that you are there on time. It might sound rather obvious, but nobody wants to have a scheduled meeting happen 10, 15 or 20 minutes later than intended. Unforeseen delays can occur, but few people are interested in hearing that the bus was late or that the walk from the tube took longer than you thought. If in doubt, leave extra time for your journey. It’s better to be ten minutes early, sitting in reception, than ten minutes late for someone who is making time to

that you should never take it for granted that a new client understands the matter of rejection of artwork and kill fees. 68 To doodle … into the habit of gathering potentially useful material. Where you find your inspiration and references depends on the kind of illustrator you are. I know several illustrators who simply browse through a book of work by a favourite artist, just to get a colour-palette idea for an image they are working on. Producing the first job I have always loved the

certain points to get a workable contract that’s acceptable to both parties, so that they know they can use any of the other artists on the agency’s roster if they need to. Signing a contract on an artist’s behalf can sometimes be a contentious matter. Most clients do not worry overly, provided it is signed, but some want to ensure that either the artist signs the contract (which is not always practical) or that they see proof that the agent has the authority to sign contracts on the artist’s

Another year later, you’re just one of a swelling throng of budding illustrators trying to make a living. Nobody hands out badges with these labels, but you need to make the most of your ‘debut’ appearance. There may be 50 graduates from your college. Two years later, that’s 150 job-hungry graduates from your college alone, so you need to be determined and committed, as soon as you leave college, to make an impact as soon as possible. 20 Getting started If an illustration commission comes up

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