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the layout. If you are working with an art organization, you will not see the agency at all, but will get your instructions and the agency layout from one of your company's salesmen.

Proceed, dien, to look up what data you need, get necessary photos or models, and go ahead with your job. If you are a free-lance artist, you work in your own studio. In that case you will have agreed upon a price with the art director, and you will bill the agency when the job is complete and accepted. In an art organization you will either be working at a set salary, or on a split basis, usually fifty-fifty. Most artists spend considerable time in organizations before setting up a free-lancc studio.

The magazine illustrator usually works in his own studio. He may have an agent or sales representative, especially if he does not live in New York City, where most of the magazine houses are located. Without an agent he deals directly with the art director. The artist is handed a manuscript. As a general rule, if the magazine has not supplied him with layouts, he is asked to make roughs for general composition and treatment of the subject. The magazine may pick the situation to illustrate or may ask the artist to read it, pick the situations, and submit several roughs for selection. When these are O.K. d, the artist proceeds with his drawings. When the magazine picks the situation and gives the artist a rough from the art department, he may go to work at once. This is usually the most satisfactory arrangement, but it does not give the artist so much freedom as when he makes his own selection. If you have an agent, the agent bills the work; otherwise you are paid directly. An agent's commission is approximately twenty-five per cent of the billing price. There are several firms and guilds in New York that act as artists' agents. Work must be of proven quality, however, before they will represent an artist.

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