Price Guide

Here is a price guide made up by the AOI to help illustrators understand the general prices of commissions. This list helps illustrators to price there work and also not get ripped off.

Here was a small quiz that we did as a couple before getting the price guide from the AOI. We had to estimate the prices of regular jobs in the industry. As you can see, My group where not to good at this and we drastically under estimated all of the commissions. In the future, I think understanding the price guide and using it as a general idea would be good for me as from the short task it is shown i really do not know the the prices and worths of average commissions.

Competition - Red Bull

I have entered a competition this academic year and it was the Red Bull Canimation competition.

The prize for the competition was an internship with an animation company and also the winner video was shown on channel 4 and in cinemas in the UK.

I did manage to win the competition but i was in the top ten in the country and become a finalist.

To get to the top 10 i had to get as many views as possible by the public. I don't feel this is a fair way to run a competition as some good animation may never be seen due to lack of social networking. I thought it was unfair for people without social network sites.

I promoted my video as much as i could by emailing and phone other universities and colleges asking them to contact there students, i emailed all the students at PCA and also managed to get into the local paper to get some support. Here are the viewing figures of my video over the two weeks of voting.

As you can see, from promoting my work i got over 3,000 people to view my work in two 2 week. I don't think this is a bad achievement and i think i done well to get there kind of figures. This shows how easy and fast self promotion can be if done properly and try every avenue.

Acceptance of Commission

Acceptance of commission is a document that is an agreement that you will work with the client and take the commission. This should be signed by both parties as a form of binding contract, binding the seller to take the commission and deliver on deadline but also binds the client to paying for the commission at the agreed rates and stay within the terms of copyright.

This document contains similar information to that of the invoice:

• Fee and VAT included - This tells the buyer what they have to pay
• Expenses and VAT included - This is money the client has to pay for expenses due to the job (e.g. travel costs to meeting with client)
• Names on both buyer and seller - so everyone hows who is dealing with who.
• Names of Contact for commission and job title - This allow you and the company see who you have been dealing with during the commission.

But this document must also contain:

• Deadlines - the dates for both the roughs and also final artworks
• Terms of Copyright - this state who the copyright is granted to (e.g. client), its use, the duration of it use, Area which the licence is covered (e.g. Only UK, World), exclusive or non exclusive (will the artwork be only use for one exclusive client for a period of time or not)
• Any special terms

The document also contains the Terms and condition of the contract. The AOI supply general terms and conditions which can be copied into any document. They cover everything and helps protect yourself from being ripped off or exploited. Before using these terms and conditions, they need to be read through so you understand how you are protected.

TERMS & CONDITIONS

Ownership of Copyright/Copyright Licence


1. The copyright in artwork commissioned by the Client shall be retained by the Illustrator.
   
2. The Client or the Client's customer (where the Client is acting as an intermediary) is granted a licence to reproduce the artwork solely for the purposes set out on the face of this acceptance of commission. If the acceptance of commission is silent, the Client or the Client's customer is granted an exclusive licence for one time use in the United Kingdom only.
   
3. During the currency of the licence the Illustrator shall notify the Client of any proposed exploitation of the artwork for purposes other than self-promotion and the Client shall have the right to make reasonable objections if such exploitation is likely to be detrimental to the business of the Client or the Client's customer.
   
4. Where use of the artwork is restricted, the Illustrator will nominally grant the Client or the Client's customer a licence for use for other purposes subject to payment of a further fee in line with current licensing rates to be mutually agreed between the Illustrator and Client.
   
5. The licence hereby granted to use the artwork is contingent upon the Illustrator having received payment in full of all monies due to her/him and no reproduction or publication rights are granted unless and until all sums due under this Agreement have been paid.
   
6. The licence hereby granted is personal to the Client or the Client's customer (where the Client is acting as an intermediary) and the rights may not be assigned or sub-licensed to third parties without the Illustrator's consent.
   
   Payment
   
7. The Client shall pay all invoices within 30 days of their receipt. Interest at a rate of 2% per month is payable on any balance unpaid after 30 days of the date of invoice.
   
   Cancellation
   
8. If a commission is cancelled by the Client, the Client shall pay a cancellation fee as follows:
   (i) 25%of the agreed fee if the commission is cancelled before delivery of roughs;
   (ii) 33% of the agreed fee if the commission is cancelled at the rough stage:
   (iii) 100% of the agreed fee if the commission is cancelled on the delivery of artwork;
   (iv) pro rata if the commission is cancelled at an intermediate stage.
   
9. In the event of cancellation, ownership of all rights granted under this Agreement shall revert to the Illustrator unless the artwork is based on the Client's visual or otherwise agreed.
   
   Delivery
   
10. The Illustrator shall use her/his best endeavours to deliver the artwork to the Client by the agreed date and shall notify the Client of any anticipated delay at the first opportunity in which case the Client may (unless the delay is the fault of the Client) make time of the essence and cancel the commission without payment in the event of the Illustrator falling to meet the agreed date.
    
11. THE ILLUSTRATOR SHALL NOT BE LIABLE FOR ANY CONSEQUENTIAL LOSS OR DAMAGES ARISING FROM LATE DELIVERY OF THE ARTWORK.
    
12. The Client shall make an immediate objection upon delivery if the artwork is not in accordance with the brief. If such objection is not received by the Illustrator within 21 days of delivery of artwork it shall be conclusively presumed that the artwork is acceptable.
    
    Approval/Rejection
    
13. Should the artwork fail to satisfy, the Client may reject the artwork upon payment of a rejection fee as follows: (i) 25% of the agreed fee if the artwork is rejected at the rough stage.
    (ii) 50% of the agreed fee if the artwork is rejected on delivery.
    
14. In the event of rejection, ownership of all rights granted under this Agreement shall revert to the Illustrator unless the artwork is based on the Client's visual or otherwise agreed.
    
    Changes
    
15. 15 If the Client changes the brief and requires subsequent changes, additions or variations, the Illustrator may require additional consideration for such work. The Illustrator may refuse to carry out changes, additions or variations which substantially change the nature of the commission.
    
    Warranties
    
16. Except where artwork is based on reference material or visuals supplied by the Client or where otherwise agreed, the Illustrator warrants that the artwork is original and does not infringe any existing copyright and further warrants that she/he has not used the artwork elsewhere.
    
17. The Client warrants that any necessary permissions have been obtained for the agreed use of reference material or visuals supplied by the Client or its customer and shall indemnify the Illustrator against any and all claims and expenses including reasonable legal fees arising from the Illustrator's use of any materials provided by the Client or its customer.
    
    Ownership of Artwork
    
18. The Illustrator shall retain ownership of all artwork (including roughs and other materials) delivered to the Client.
    
19. The Illustrator's original artwork shall not be intentionally destroyed, damaged, altered, retouched, modified or changed in any way whatsoever without the written consent of the Illustrator.
    
20. The Client shall return all artwork to the Illustrator not later than 6 months after delivery in undamaged, unaltered and unretouched condition although the Client may make and retaln transparencies to enable it to exploit the rights granted with the artwork.
    
21. If the artwork is lost or damaged at any time whilst in the Client’s custody (which shall mean anytime between delivery of artwork to the Client and its safe return to the Illustrator0 the Client shall pay compensation to the Illustrator for the loss/damage of the artwork at a rate to be agreedor, in default of agreement, decided by the Ethics Committee of the Association of Illustrators.
    
22. THE CLIENT SHALL NOT BE LIABLE FOR ANY CONSEQUENTIAL LOSS OR DAMAGES ARISING FROM LOSS OR DAMAGE TO THE ARTWORK.
    
    Credits/Moral Rights
    
23. The Client shall ensure the Illustrator is credited in any editorial use of the artwork. Credits for non-editorial use are not required unless so indicated on the front of the form.
    
24. The Illustrator hereby waives the right to injunctive relief for breaches of the right of integrity and the right of paternity.
    
    Samples
    
25. Unless otherwise agreed, the Illustrator shall be entitled to receive not less than four proofs or printed copies of the work.
    
    Notices
    
26. All notices shall be sent to the Illustrator and to the Client at the address stated in this Agreement. Each party shall give written notification of any change of address to the other party prior to the date of such change.
    
    Governing Law
    
27. These terms and conditions are governed by the law of England and Wales and may not be varied except by agreement in writing. The parties hereto submit to the non-exclusive jurisdiction of the English Courts.

Reflection

One thing i don't understand is that this is a form of contract between both the client and also you the artist, so why don't both parties have to sign the form. This is a form of agreement and i would think both parties must sign. On the AOI site they just say the illustrator signature but who does this give you anything to fall back on as the terms and conditions have not been proved to be accepted without a signature.

this little message is on the example I has given:

The Standard Terms & Conditions for this commission and for the later licensing of anyrights are shown on the back of this page. Please review them together with the above and let me know immediately if you have any objection or queries. Otherwise it will be understood that you have accepted them.

This makes there no need to get a signature from the client or other party. I guess this makes the process simpler and less of a hassle.

Another thing that was not on the example sheet we got (at the some) was a tick box for credit with artwork. I have put a checkbox on the Acceptance of commission form i put together. This means the client was to credit you for the artwork where it is displayed. This helps get your name out there with your work.

Another thing I noticed is that the VAT on the sample sheet is wrong, as in 2011 VAT increased from 17.5% to 20%. I have used the current VAT on my mock forms.

Invoice

An invoice is used as a bill ready for payment. This is a document handed to the client at the end of the job which contains most of the information that is present on the acceptance of commission form. The generally things an invoice contains is:

• The title of invoice - so the receiver understands the document they have been given.
• Unique Reference number - This help number would help me to keep my books in order and stay on top of many jobs at once.
• Date of the invoice - This helps the buyer to see how long they have to pay from the date of receiving this document
• Fee and VAT included - This tells the buyer what they have to pay
• Expenses and VAT included - This is money the client has to pay for expenses due to the job (e.g. travel costs to meeting with client)
• Names on both buyer and seller - so everyone hows who is dealing with who.
• Names of Contact for commission and job title - This allow you and the company see who you have been dealing with during the commission.
• Purchase order number - this is a number given by the client or company so the job can be tracked or found quickly
• Description of product - The produce which is being sold
• Payment terms - this concerns method of payment, date of payment and any detail about late payments.

Another thing I noticed is that the VAT on the sample sheet is wrong, as in 2011 VAT increased from 17.5% to 20%. I have used the current VAT on my mock forms.

Mind maps

Illustration can be found everywhere in so many forms. By making these two mind maps, I have really shown myself how wide a career in illustration can be. There are a great deal of paths that are open to me.

Reflection

Out of the mind map of job there are a few that i would be interested in -

• Editorial illustrator - When doing the mock editorial project i found the i can work to very short deadlines. I feel i can deliver good artwork which under an amount of pressure.
• Animation - I want to work and be involved in the animation industry. Animation is something that I have always been interested in and something id like to pursue.
• Music industry - I am a massive fan of music and it packaging. I love buying CD and going through the booklet looking at the artwork and way the thing is put together. It something id like to be involved in.
• Products - Id love to have my own shop online to keep a flow of money coming in.
• In-studio work - I really like the idea that i could work 9 - 5 and get a steady income. In-studio is really appealing to me.
• Tattoo - This is the plan B. If illustration does not pay off for me, I would probably go into the tattoo and tattoo design industry. Training is involved but tattoo artist can make a great deal of money and pretty constant.

Portfolio and interviews

The only thing between you and the art director or client is your portfolio and it can get you the job or in some cases not. There are a number of do's and dont's when it comes to portfolios.

Do's

1. Have 12 professional and well polished pieces of work.
2. The work that is in the portfolio has to be relevant to the job that you are going for.
3. Show versatility within your work.
4. Variation in sequence.
5. The portfolio has to be clean and professional. Good quality portfolio sleeves with no marks.
6. Include work that has been commissioned or published (this will show that you no what you are doing and are professional)

Dont's

1. Never include any weak work just to increase your portfolio. Take your time when putting a portfolio together, trust your instincts.
2. Don't include any work of mediums, like silk screen printing, which you can not produce due to lack of the equipment.
3. Any work that has been done for family members or friends (e.g. portrait of family)
4. Life drawing cause as an illustrator its taken for granted you can draw.

The portfolio is extremely importance but in an interview there is one thing that can lost you the job even with the best portfolio in the world, and that you.

The way people hold themselves is very important as it effects the way they think of you as a professional. here so pointers-

• Professionalism - you need to come across as a professional that the company or client would love to hire. Small gestures such as the exchange of a hand shake at the beginning and end of a meeting is a easy way of showing professionalism and also good manners.
• Communication skills - you need to be able to get your point across while sounding confident. A confident speaker comes across as a person who knows the industry and what they are doing.
• Good time keeping and punctuality - This is important as if you are late or rushed the client will already make judgments about you as a person before you have even spoken. Being on time or slightly early shows that it matters to you and it something you want to do.
• Articulation - Like communication skills, being articulate will help you get your thought and ideas across. Swearing is unprofessional.
• Presentation and dress code - The way an individual holds themselves and dresses is important. If you are smart and present yourself well, it looks like you care and have gone to an effort for this job interview.
• Attendance - Attend, you cant get the job if you don't attend. is it better to be last for a good reason and attend than not turn up what so ever.
  

Reflection

I have had a few interviews in my life and they have all gone relatively well, no major blunders. One thing on this list above stands out to me quite a lot. Time keeping and punctuality is a problem for me I have found. For example, In college I am in everyday I have to be and haven't miss one but unfortunately i find it hard getting there on time everyday. This is a major issue that will need to be address before I face the real work as being late to an interview or meeting would make me look very unprofessional and would look bad on me before the interview even begins.

Thinking about portfolios, as i don't really think i am going to specials (e.g. children's books, editorials), I think I will have to have many portfolios for different purposes. This would allow myself to be ready with a portfolio no matter what kind of job it is. I think it would take time to organise my work into different portfolios but i think in the long run it would be greatly helpful.

Note on having got the job

Having got a job there is a great detail to think about and the most important thing is to understand the brief completely and if there is anything that you are unsure about, ask the client.

Things to think about after and before taking a commission-

• Deadline for rough and final (are they realistic)
• Colour scheme within the artwork (is it black and white, full colour)
• Medium used (e.g. Pencil, pen, watercolour, digital)
• Style within work
• Measurements of the piece. Be it landscape or portrait
• Does the image need a bleed
• What format does the end produce have to be in if digital
• How the artwork will be used and for how long
• Payment and payment methods
• What are the terms and conditions of the brief

Reflection

I feel that i am generally quite a confident person with a good level of communicational skills so I don't think communication with a client would be difficult for me.