Freelance Illustrator Ebooks Catalog
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For illustration the situation was somewhat different. For illustrators, to work in an independent freelance capacity simply meant that the purchase of digital hardware would be out of reach for sometime. The price of software was prohibitively expensive and so costs needed to fall dramatically before the tide would turn, As well as a reduction in hardware and software costs, it would also take the expertise of those designers and art directors commissioning illustration to have a knowledge of working practice in digital reproduction and print processes before the barriers would eventually fall down. It was the turn of the century before digital processes finally made their mark on the practice of illustration.
Unlike graphic design, there is not a clearly visible, tried-and-tested path into working as a freelance illustrator. Forging a career can take equal amounts of patience, skill and luck. Understanding how to market one's work, maintain client interest and build a professional reputation can be a painstaking experience.
Advertising is a tough sector to break into and is not for the faint-hearted it can be a brutal environment for the freelance illustrator. In return for punishing schedules, unrealistic deadlines, lack of creative decision-making and being told what to do and sometimes how to do it, there is, however, the promise of the advertising fee. It is generally recognised that an increase in fees equates to the increased pressure felt when undertaking most advertising commissions. Working alongside the art department of an advertising agency is the art-buying department. This manages the freelance sources of artwork the photographers, model-makers, directors, animators and illustrators. The art buyer keeps abreast of developments, trends, fashions and movements in each of the key disciplines by attending exhibition openings, scouring the art and design press and constantly calling in portfolios of work from individual practitioners and agencies representing the best in contemporary work. The...
Each database will have a best-before date of six months most suppliers update their records every three months. A glance at the classified ads in the back pages of most prominent design and advertising magazines will detail any companies supplying contact information. Cold-calling - making telephone calls to potential clients on the off-chance that they may have work or want to view a portfolio - is rarely successful. There was a time when magazine art directors and design company creative directors would put aside an afternoon each week to view portfolios and meet with freelance illustrators and photographers. Unfortunately, this magical slot appears to have disappeared in recent years, partly due to increased workloads, but also because other forms of self-promotion have become popular. Clients, after the initial contact has been made, are happy to converse on the phone, via email and tg view images on screen from attachments or websites, so for many the face-to-face meeting has...
Perhaps one of the most popular magazines that has a history of running sophisticated panel cartoons is The New Yorker, which runs cartoons from a staple of regular freelancers. If you think you can inject an intellectual, highbrow sense of humor into your work, contact The New Yorker at 4 Times Square, New York, NY 10036 to find out what type of material the magazine is looking for and what you need to do to submit.
The Association of American Editorial Cartoonists (http editorial cartoonists.com ) is a professional organization concerned with promoting the interests of staff, freelance, and student editorial cartoonists in the United States. It's the only formal organization that includes and represents editorial cartoonists exclusively. Joining an organization like the AAEC can have many benefits for an up-and-coming editorial cartoonist. These include making valuable contacts, learning the business from seasoned professionals, and getting constructive feedback on your work.
Backing up. storing and archiving work is a boring, but necessary aspect of digital work. It can take some freelancers a major computer crash and loss of files before they are ready to begin a pattern of regular back-ups. Although wise to copy work files on to an external hard drive, these are not indestructible and must not be regarded as completely error-free places to archive work. A small drive that fits in a bag or pocket is better value per megabyte than a small keyring USB storage device, bul it is also vital to back up on to CD or DVD and create duplicate copies of each disc too. Get into the habit of keeping one set of data in an alternative location it is best to be thorough before the inevitable occurs.
The music business is a global industry that employs tens of thousands of people and represents artists and acts that generate many millions ol dollars per annum. The huge scale of the operation means that finding in-roads into working as a freelance illustrator can be less lhan straightforward, Large record labels normally run their own art departments, creating sleeves and promos for their acts on an in-house basis, buying in photography and illustration on a project-by-project basis. Some of Ihe large labels, however, prefer to out-source all of their design, working with one major design company or a selection of smaller agencies, commissioning them for the entire design and production of each project.
Traditionally, illustrators produce postcards as samples of their work. They are relatively inexpensive to produce, cheap to send, and art directors and designers often have filing systems to accommodate them for future reference. Postcards are normally A6 in size, but a double-Sized A5 card can look more professional. There are a vasl number of print companies that have tapped into the market for producing postcards, many working exclusively for freelance photographers, models, actors and illustrators. Their rates can be reasonable as they gang up' the artwork, printing entire sheets of cards and not beginning production and print until they have collected enough artwork to lill the sheet. Postcards can leave some illustrators cold, believing that as creative individuals they should produce promotional materials in line with this - something more personal and memorable, It is true that other formats may interest and intrigue the viewer, but the life expectancy of the piece should be...
Freelance textile designers endure a particularly subservient role in the fashion industry. Designs are often sold for very small fees with no retention of copyright. For the illustrator that moves into producing textile designs the payment and ownership terms can come as a genuine surprise. It is. perhaps, the
The life of a freelance illustrator, workshop teacher, and self professed amateur naturalist does not come with fringe benefits, at least not the monetary kind. Hannah Hinchman is characteristically candid about the drawbacks of such an existence I've never thought much about money in the bank. As long as I had enough for cat food and coffee, that was plenty. But now here I am at fifty with no appreciable assets.
All good graphic-art material suppliers stock a range of products that will fit any budget, but spending money here is a good investment. A zipped, leather, ring-bound or loose-leaf book with perfectly clear translucent sleeves is not cheap, but it will stand the test of time and it will perform in an admirable fashion on your behalf. A good comfortable handle is important, as is a ptace to put your contact details on the outside of the book. A ring-bound book with sleeves will grow with you and adding more work becomes a simple process. Bear in mind that leather improves with age and plastic doesn't, and that getting the right Size for your work is crucial too if in doubt, seek advice in the shop. Remember, the portfolio is as important to the freelance illustrator as the limo is to the chauffeur, so this is not the time to economise.
Freelance illustration is a predominately solo discipline much of the work is undertaken in a space away from the client and delivered at the end of the process. Until email became the normal mode of delivery, illustrators tended to migrate towards the cities where most commissions were likely to be forthcoming. If they chose not to and lived and worked in another part of the country, they adjusted their working methods to allow for delivery times. Although email has made delivery an instanl option and the mobile phone has ensured that communication can be a constant, many illustrators still prefer lo work in urban areas, This may be related to the need or desire to meet face-to-face with the art director or designer on a project, or it may go back to issues of self-promotion and the ease in getting to and from presentations laden with a portfolio.
Creating artwork that was 'camera ready' became the only technical requirement for illustrators in the years leading to the digital revolution as many were working less in design studios and more and more from their own studios and homes, it was easy for designers to keep them out of the loop when it came to making design decisions about projects. Digital technology started to change the input that illustrators would have, allowing opportunities for discussion and debate about reproduction issues, print processes and paper stocks, as well as entirely digital outlets for illustration such as the Web and television, Contributing to these changes in practice were both the power and knowledge, digital illustrators now had access to and the ease of communication afforded by email and mobile phone technology. I rom their own freelance workspace illustrators could work alongside designers with communication lines open at all times.
Mark Willenbrink is a freelance illustrator and fine artist whose work has been displayed in fine art shows, with several paintings receiving awards. Mark also teaches art classes and workshops using demonstration, simple instructions and professional tricks to help his students achieve beautiful artwork they can be proud to display.
Illustrators and their agents can find that they are constantly organising the delivery of portfolios to advertising agents for projects that rarely lead on to real work. Advertising is one sector Of the market that has been slow to adopt new ways of viewing work, preferring to view real-time leather-bound portfolios rather than digital versions on-line. This reluctance to move forward may be related to the fact that art buyers wish to retain some mystery and status in their positions and see the on-line viewing of portfolios as a threat to their existence. Whatever the reason, courier companies are not unhappy with this arrangement at any one time they are responsible for moving numerous portfolios of work from illustrators, and other freelance creatives, to agencies and back again.