Cynthia Kingsley-Smith
Illustration
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AOI Masterclass Review - Reflective Practice
This week:
The masterclass started with introductions from the speakers, then over three parts named:
What does it mean to be a professional illustrator?
How to take control of your own career path.
Planning your path and how to do a commission.
I took various notes and answered prompts based around best industry practise designed to give me
How can I get my work noticed, what formats can I use, how do professionals do this?
Website Considerations:
Simple layout and neutral background. Ensure that the work is “hero’d”
Clear categories between different media
Utilise SEO.
USER JOURNEY
URL
Mobile compatible
Consistency with social media handles, etc.
Cohesive Portfolio
Update this twice a year to cycle out styles that I don’t work in anymore and showcase my best work!
I should do some COMMISSIONER FOCUSED PROJECTS to utilise on my portfolio website as these show professionalism and proof of my skills. These can be used to steer my career towards clients/projects that I would enjoy working with.
Should I use my real name, how can I best represent myself, what features in social media get the best response, how do I attract my target audience?
Social media should be considered an extension of my portfolio. It can also be used to research commissioners. It is a fantastic opportunity to show a bit more about myself, and can also be used to show “behind these scenes” examples of tactile processes to both impress commissioners and the algorithm. I should utilise business tools such as user behaviour metrics and SEO-oriented platforms such as BEHANCE and PINTREST.
I should remember my well-being when working excessively with social media.
How do I get noticed by potential clients, what should my work contain to attract attention, how can I reach out to an international audience?
Professional-oriented platforms such as AOIFOLIO and BEHANCE and LINKEDIN. Introductory emails are an invaluable tool to help network, especially when done in conjunction with tools like the AOIDIRECTORY. An essential thing to keep in mind is FLATTERY. Reaching out and developing my client list (kept in google sheets or excel) is a fantastic thing to make part of my regular creative practice. Even if I don’t get a reply, it is still working to get my name and work out there.
How do I protect my work online, what can I do if someone is plagiarising my work for commercial gain, who can help me with potential issues, how does copyright and use of illustration work apply for a student/professional competition?
Illustration is a License-Based Industry. A License is made up of three separate parts:
Usage: How the client can use your work.
Territory: Where the client can use your work.
Duration: How long the client can use your work for.
If you, as an illustrator, create any piece of original artwork – COPYRIGHT FOR THAT WORK WILL AUTOMATICALL EXIST AND BELONG TO YOU, THE CREATOR – THIS LASTS FOR YOUR WHOLE LIFETIME (+70 YEARS).
How can I prevent my fee being reduced, what should I be aware off, should I challenge the client, what if it puts the job at risk, what should be considered in negotiating a fee, is it helpful to break down the costs of production for each stage to the client?
There are no “set fees” or rules, but it is important to ensure that my costs are reflected in the license, and that I don’t undersell my own unique work I can provide. It’s also important to remember that a client is not a “boss” and that all negotiations are done on equal power/footing.
The W.E.B technique for fees:
WHAT do I want to get out of this
EXPECT what do I expect to get out of this
BETTER GET what I’d BETTER GET out of this (bottom line)
Even in scenarios where the budget is much lower than expected, it’s always appropriate to negotiate on deliverables or license terms in order to meet them in the middle. For example, I could produce two works instead of four works for their proposed budget.
NEVER WORK FOR EXPOSURE (usually).
Even if a negotiation falls through, it is worth staying positive and keeping in touch as it may lead to further work in the future.
If I am contacted through social media as a touch point, I should try and move that communication to email for better receipts/professionalism.
How do I calculate a fee, what should I consider when costing, do I charge by the day or by the job, how do I justify my fee based on the size of the client and use of the artwork, what is a reasonable licence length, how do I recharge if the client want to use the work after the licence has expired, how does royalties work, what do I do if the licence agreement is broken, how does licencing and use of illustration work apply for a student/professional competition, should I secure a down payment for work to commence?
Understanding that the USAGE, TERRITORY and DURATION of any given license all have a massive effect on VALUE of your work. For example, a one-year license will generally be less valuable than a 10-year license.
It is always wise to ask the client if they have a budget, but it is not uncommon for them to just ask for a quote from the illustrator. There are online AOI calculators that can help me find a starting point for these situations.
Illustrators do NOT use a day-rate and instead use the licence structure as this helps significantly with ensuring that the illustrator gets commission from continued usage of their work.
Do I need a SLA (service level agreement) and a contract, what is the difference, what special terms can I add, what is reasonable or expected in the terms, how am I protected with a contract, what happens if communication breaks down with a client, can I cancel a contract if the job changes while working on it?
I must find out all the USAGE, TERRITORY, DURATION details.
I must understand the DELIVERABLES, amount and style of work.
I MUST understand the deadline
A contract lays out what has BEEN AGREED. This provides clarity and certainty and importantly functions as legal backing and evidence for disputes. A Contract is what makes an agreement legally binding. A contract may include the following things:
Payment clause: this is essential to get paid at all!
Delivery: This just refers to the fact that you will deliver for the deadline dates - this is a binding commitment
Warranty: A guarantee that your illustration is an original work and will not infringe the rights of other artists or copyright holders.
Cancellation clause: Client-side clause for if the client cancels the project through no fault of your own. It will state that I will receive a certain percentage relating to the amount of work you’ve done up to that point.
Client contracts will often legally be in their favour, and it’s always appropriate to negotiate a contract to bring it more into your favour so you do not get blindsided.
If a client asks for Copyright assignment, it is almost always better to offer to change this to a licence instead. This avoids loss of income and control.
What is realistic to earn in a year as a new illustrator or as a seasoned professional, how can I get more work, how do I project potential income for the year, how can I maintain a regular income? How can I get help to start up as a self-employed freelancer?
It is vital for an illustrator to have multiple income streams. For example, I could profit from royalties, licence fees AND online shop sales. Register as a sole trader and remember to self-assess – fortunately this is something I have experience in as a previous small business owner. Ensure to save up all numbered and dated invoices and receipts. The amount an illustrator earns a year is incredible hard to predict due to the state of the industry and freelance nature of much of the work. However, for me specifically, it would not be wise for me to earn more than the minimum tax-free income (16000£) until this ”seasoned professional” status can be reached.