After doing a limited soft launch of our new website last Monday, everything seems to have gone well. So, today we’re rolling out our new site to everyone! Our new site includes improved portfolios and search options, plus we’ve gone fully responsive. Which means all of you who’ve struggled to use our site on your mobiles need struggle no longer. One of the biggest improvements to the site is that it’s now blazing fast; we’ve utilised all of the latest technology to make it as fast as humanly possible.
For our members, our dated administration has also had an overhaul to make it easier than ever to manage your profile and add new work. You may have also noticed we’ve increased the sizes of your images too.
To top off the launching of the new website, we’ve also got a new logo. It’s not a million miles from our old logo as there’s no need to change something if it works. We’ve just had it fine-tuned and embraced what it means to be an illustrator.
Well, we can hardly believe it’s that time of year again already! It’s been another super-busy year and we have had the privilege of working with so many fantastic illustrators, animators and clients over the past 12 months. 2016 will see even more things happening, including a faster, swisher and generally more fabulous website, and we’ve also started planning the next Showcase 100 exhibition, which we’re very excited about!
We’ll still be working over the holidays to help with job enquiries, but may be a bit slower to respond on the following dates due to an excess of mince pies and Christmas cake:
24th, 25th & 26th December
31st & 1st January
Please note that any other non-urgent emails will be replied to as soon as possible over the holidays, but it may take a wee bit longer for us to answer than usual. Also, please be aware that news submitted over Christmas and the New Year period may not be published on the site until 2nd January.
We wish everyone an extremely Merry Christmas and a happy and prosperous New Year!
The wonderfully festive illustration at the top is by Kevin Myers – check out his portfolio for more of his amazing work!
We’re planning on moving to a bigger and better server, so if you’ve tried to log into your profile and have been redirected to this blog post we’re in the process of migrating at the moment. It should only take an hour or two to make the move and once complete you’ll have full access to your profile again to make changes and submit news.
It’s always a worry moving from one system to another, as you know if you’ve ever done it yourself. We’ve moved servers several times over the last few years as we’ve out grown old machines, or new technologies have become available. Moving a small site is easy-peasy, but when you’re looking at moving the equivalent of 300-400 small sites in one go with hundreds of clients relying on you as part of their business, there’s no shortage of pressure to make sure everything runs smoothy with minimal downtime. Although the tech industry would like you to believe everything is just point and click these days, doing a server migration just isn’t that simple and requires a lot of prep work.
We’re really excited about the new system, we’re going to get a bump in RAM to make everything more spritely. Plus we’re getting super-fancy Solid State Drives to replace our old fashion HDs, again this should give us another bump in speed.
Image by Emory Allen for the Pacific Standard (September 2014).
Illustrators tend to be bombarded with the same questions over and over again from clients looking to hire them to bring their children’s book manuscript to life, and from publishers looking to have them work on a future project or their next release. With our illustrators being the pros they are, they tend to send a personal reply to every query that comes in regardless of whether they’ve answered the same question half a dozen times that week already.
So, here are a list of questions you need to ask yourself before you hire an illustrator, and some answers to questions that clients commonly ask illustrators during the course of hiring one.
These questions were devised and answered by Ginger Nielson (illustrator of almost 40 children’s books), and edited and updated by Darren Di Lieto & Jane Di Lieto-Danes.
Should you hire an illustrator?
If you have a finished, edited, and great manuscript, by all means submit it to a publisher. If they decide it’s right for their line up and marketable, they will normally pay you an advance followed by royalties in exchange for the right to print and sell your book. They will also hire an illustrator, pay the production costs and help you market it. You do NOT need any illustrations to submit your manuscript to a publisher unless you are an author/illustrator yourself.
How do you find a publisher?
To find out who might be the best publisher for your book, get a copy of the Children’s Writer’s and Illustrator’s Market or the Children’s Writers’ and Artists’ Yearbook. They list publishers, their contacts, their terms, and what they are looking for. It also includes international markets, magazines, contests, agents and wonderful articles from artists and authors as well as publishers and editors.
What to do if you’re self publishing?
You need to be very sure of your own work and you need to be ready to invest your own time and money in making your book a success. You will be choosing your own illustrator and paying for the artwork and license or rights to use it; for the book printing; to have it proofread; for distribution; for all your own advertising… and you’ll be doing your own sales. Your local indie bookstore may be happy to host a signing. You might be able to market your books at a local craft fair or market, or at any event with the right setting and clientele. Some schools have book nights where you can sell your books too. Self publishing is often sold as the easy (and cheap) way to get your book published, but don’t let all the hype fool you. The more work and money you can invest in your book, regardless of how good it might be, the more chance it has of being a success.
How much does a children’s illustrator cost?
When you hire an illustrator remember that you are hiring a professional. You need to be prepared to pay a fair market price. Depending upon the length of time it will take to illustrate your book, the amount of research needed, and any unusual requests, the cost could be a few thousand pounds/dollars or many thousands of pounds/dollars.
OK, so how much will it cost?
Most illustrator’s rates are only shared with a potential client after they have seen a finished manuscript or at least a detailed outline of the work. The illustrator also needs to decide if their skill and style is right for the story and that they’re a good fit for the client. Some illustrators also do the design and layout for children’s publications, so will provide a print ready PDF on completion. If this is not the case, the client will also need to hire a designer who’ll turn the artwork and manuscript into a ready to print product. The illustrator may be able to recommend someone for the design/layout part if they’ve worked with self publishers in the past and do not do the design themselves. Working with a separate designer will increase the overall costs, but you will benefit from the skills a well trained graphic designer brings to the table and you’ll probably find you’ll have a quicker turn-around time too.
Really, how much does it cost?
The GAG (2013) says a colour 32 page children’s book will cost you between $3000-$60,000 USD + 3-5% royalties while the AOI (2008) says it’ll cost between £3000-£5000 GBP for the advance plus royalties. It really does depend on who you want to work with, the type of style you’re after and the experience of the illustrator. You may find a really talented young illustrator fresh out of university, but as with fine wines that get better with age, all illustrators get better as they hone their skills and gain experience.
How long does it take?
A contract is issued with payment dates, artwork dates, and copyright restrictions for both the author and the illustrator. Work will normally take from 3 to 6 months to complete, give or take a month depending on the illustrator. Payments will normally be made at different stages throughout the project as work is completed and approved. There will normally always be an upfront percentage to pay before work is started too. This upfront fee will normally not be refundable as it’ll also be the kill fee if the client decides to scrap the project or work with an alternative illustrator after work has begun.
What about changes and artwork revision?
Any artwork that has been finished and approved by the author/client is final. However, if changes are requested after the final approval a fee per hour for any changes may apply. Revisions after approval will also be subject to an illustrator’s availability.
If you’d like more advice on hiring an illustrator for your children’s book, check out Dani Jones’ blog or Randy Gallegos’ PDF Guide For Publishers via the links below. And obviously if you’re ready to hire an illustrator have a look though our children’s illustrators or submit a job request and we’ll help you find one.
We all love a good deal or bargain, and this is why HAI has teamed up with a number of reputable companies and organisations to bring our members some very nice discounts. On your behalf we’ve negotiated deals on screen printing, on and offline art-related educational courses, merchandise and hosting. All our members need to do is visit our discount page while logged into their account to reveal the discount codes.
We’re always on the look out for new discounts and offers that we can arrange for our members, which means we’re going to be constantly updating the discount page as new partnerships are formed. So keep an eye on it and check back from time to time.
If you’re one of the companies or organisations offering us a discount on one of your products, thank you kindly.
We’re always making updates on the site and with the service for members of Hire an Illustrator, but when it comes to adding or removing the categories our illustrators use to define themselves on the site it’s actually quite a big deal. We never add new categories lightly and normally only when there’s enough demand from clients for them. Over the last 12 months we’ve found there have been more and more job requests asking for the following three areas:
Dark & Otherworldly or Surreal
Anime & Manga
Retro, Vintage & Antique
So from today, our illustrators can add themselves to one of these categories if that’s what their artwork fits into and clients can now do searches based on those areas.
So, it’s been a couple of weeks now since we were in London with the Little Chimp Society for the Showcase 100 exhibition. The dust has finally settled and we’re pretty much back to normal here now (or as normal as things ever get!) 🙂 We had a fab week and a really good night on the Thursday for the private view – it was wonderful to meet everyone and we’d like to thank you all again for coming. It was very busy and we certainly had a great time – we hope you did too!
The Framer’s Gallery were wonderful yet again (the LCS held the last Mail Me Art show there) and it’s definitely our favourite venue in town for this kind of thing. It’s easy to get to, everyone there is so helpful and the space itself is perfect for arty events of all sizes.
A number of the 100 prints were sold on the night, but the rest are now for sale in the LCS shop at £40, unframed. They are very high quality archival prints and there’s a wide range of subjects and styles, so there’s sure to be something to tickle your fancy. Can’t decide which one you want? Then why not buy the SC100 book and be able to peruse them all at your leisure? There are still some books available to buy here.
We hope to make Showcase a two-yearly event, with the LCS continuing to run the project for HAI members. Being able to offer opportunities like this to our members is really important to us. It adds an extra dimension to our community and provides the chance to meet-up with people and celebrate the wonderful illustrations that they create.
Finally, a special thank you is in order to the lovely Eleanor, who travelled down from the Midlands for some gallery experience and did a sterling job taking photos on the Thursday night!
There’s only three days left until the Showcase 100 exhibition at the Framer’s Gallery in London. There’s still lots to do, but it’s always exciting being part of a show like this. Showcase 100, in case you don’t know, has been run for our members by the Little Chimp Society (LCS) and consists of 100 illustrations that have been selected for the show and book by our panel of judges. All of the illustrations have been framed as high-quality, archival prints and will be for sale at the show. There’s a wide range of artwork created by an equally wide variety of illustrators, so there should be something for everyone.
The accompanying Showcase 100 publication, featuring all 100 final illustrations along with lots of sketches and notes about the artwork, will also be available to buy at the exhibition as well as online from the LCS shop.
The show runs from 7th – 11th April and the ‘private’ view is on Thursday 9th April, 6 – 8pm. Everyone is welcome to come along on Thursday evening to join us for an evening of excellent artwork, free drinks and general natter. The gallery is located in the heart of Fitzrovia and is easy to get to, with Goodge Street and Tottenham Court Road tube stations only a few minutes walk away.
Thursday 9th April 6pm – 8pm The Framer’s Gallery
36 Windmill Street
London, W1T 2JT
What’s in a name? Well quite a lot actually. It’s one of those sticky subjects and no one quite knows the best course of action. What I’m specifically referring to are illustrators’ names. Are you an individual, are you a studio, are you a brand or are you using a persona? It’s a tough thing to decide, but for the sake of professionalism you need to make a decision and stick with it. For most people it’s a non-issue, they have their name and that is that. But illustrators as a group can be an insecure, reclusive bunch, so having a persona that can help you land commissions and be the face of your business can actually be a really good thing. You just have to make sure you do it right!
What I see quite a lot is talented folk coming up with a brilliant name for their studio, for example, but then hiding behind it like it’s a shield… protecting themselves from the evil overlords. The problem then arises that the client doesn’t know what to call the illustrator. This doesn’t hinder communication, but it does make it slightly uncomfortable. For example if the illustration outfit is called ‘Eye of the Beholder’, and that’s how the illustrator signs their emails and refers to themselves in their biography, what does the client call them? Eye, EOTB, Mr/Mrs Beholder… Does it really do that much harm to mention your name is Matt or Susan? You can always put ‘Matt (aka Eye of the Beholder)’. I know some people like to believe they’re magical creatures of some description, but generally people like dealing with people.
The thing is, your working name doesn’t actually need to be your real name, as long as the client knows who to pay at the end of a project. You can call yourself whatever you want. It’s just that people and clients in general need to be able to relate to it in some manner or you’re making things awkward before you even get started. Even faceless corporations have realised they do actually need to have a face if they want to connect with their customers.
At Hire an Illustrator we have numerous clients of every description sending us their job briefs on a daily basis so we can help them find the right illustrator or artist for their projects. It’s a fun process and we love doing it, plus it’s nice to know that what we’re doing really works. Some days we may have as few as five requests, but most days it’s more like 20-30. It’s a time consuming job, but it’s one of the many things we do that make HAI special and membership worth while.
What we do when a job request comes in is to analyse it and try to get an understanding of what the client is actually looking for. Sometimes we have to go back and forth with the client a few times with additional questions about style or budget, but normally the client knows what they want and we just need to point them in the right direction. It’s not an exact science and we sometimes throw in a wildcard with our recommendations to cover our bases. Other times, a job request may not have an obvious recommendation, so an executive decision is taken on who we put forward for the job. 99% of the time it works out nicely and one of our illustrators gets a new commission.
Working with our members day in, day out gives us an advantage over a casual viewer since we know which of our illustrators are good at which jobs. Plus, we have many years’ experience dealing with a variety of art projects and illustration briefs. In addition to that, we always try to make sure any potential clients who ask for our help know what to expect when it comes to working with an illustrator and commissioning a custom illustration, as well as what they might expect to pay.