Types of Work to Expect as an Illustrator

Right, we have our target audience and nailed our pricing, but what type of work can you actually get as an illustrator? Even if you know what kind of work you can get paid for, I suggest you skim the list in case there's something you missed. Lookup any sections that seem of interest to you.  

Book Illustration 

• Picture books • Board books • Teen books • Fiction covers • Black and white interior pages (often commissioned with a cover) • Licensing • Writing and illustrating books • Comic books • Graphic novel  

Other  

• Editorial: Magazines etc • Cards • Posters • Corporate • Products • Courtroom illustrator (Yes, it's a thing!) • Film storyboarding • Educational • Fashion • Fine art 

And more!  

Brief

When you get a project through an agent it will always come with a brief. Usually you get a summary first that often is something like 'I have a client who is asking for your availability for a lovely picture book about nature. Completion date is 26th of March 2023. Are you available?' If yes then you will get a full brief with budget, summary (sometimes full script) and timeframes.

For self publishers you will get anything from 'Hi I want to work with you' to a 4 page transcript with a detailed explanation of every page. Its a lot less structured and changes every time. I really enjoy this way of working and the day to day change however, I know may people who choose to get an agent just to avoid these briefs.

Building a Book  

I need to touch on one thing as it's so important for your groundwork of being a professional illustrator: Building a book. If you are not a children's book illustrator or not looking to pursue a career as one, then this is where the useful information finishes apologies. As for the book illustrators of the group, we have a little more work to do first.  

To understand your clients, you need to understand what is involved in building a book. One of the best things about working with self-publishers is they are pretty flexible on how you provide the work as long as, in the end, they are happy. I'm going to share with you what a traditional picture book layout looks like and the process of creating one, how typical publishers want you to provide the work and how I usually provide the work.  

Publishing 

Traditional publishing pretty much always follows the same steps. Even if you choose to work with self-publishers, it's good to know the steps to follow them loosely. I have popped them below so they are easy to remember

1. Picking an artist:

This is usually done through an agent. However, I have been picked through a publishing house as a freelancer once, so it is not impossible. They pick who is free, what vibe they want for the book and the illustrators' price. 

2. Characters:

This is usually the first and most important step but can sometimes be the hardest. Often you are asked to do a few different versions, and then once this is narrowed down, asked to do a few sheets of emotions and poses.

3. Text:

The text is then sent to the illustrator in suitable font or size, so you know where to avoid when illustrating. Sometimes you are given an area to avoid or an area that you are limited to.

4. Storyboard/ thumbnails:

You loosely draw out each page in black and white. This is great to map out the action and flow of the book.

5. Feedback:

Feedback is often given at lots of stages throughout the book.

6. Full sketches:

Now it’s time to sketch out each page in detail; you should do this as if they are final sketches, and all that needs to be done is the colour. The text is also added so you can see mistakes before the colour. Often, many changes are made here, and the process can take a while.

7. Full colour:

Once you get the all-clear, you are then asked to colour each page in full. Again, sending them off for review.

8. Cover design:

Sometimes, you are asked to do this earlier on so the publishing house can use it as marketing materials or at trade shows; however, mostly, you are asked to do it at the end.  

Self-publishers 

Self-publishers often have their own way of doing things; I would suggest sticking close to this method as it has been tried and tested for many years and is effective. Suppose clients want a fast turnaround, in that case, I skip the storyboard, go straight to the sketches, and often do 5 character poses instead of a few pages. 

Here is what my typical process with a self-publisher looks like 

1. Character designs: I often do 3–5-character examples for one character. The author will pick bits they like and dislike until we are both happy. I then do the character often in one pose if I feel confident. 

TIP: If you are unsure, you can draw the character in each pose throughout the book draw them in one sitting. It's a lot of work, but it's the best way to make sure your characters all look the same throughout the book. It can also take a lot off stress off your shoulders.

2. Step two depends on own much work your client has already done. For example, I have clients who know exactly what they want on each page with a layout and work examples, then I have others who just have words on a page. Whatever your client has here, make sure you state at the very beginning what your services require. If you are just illustrating, don't do word formatting for free. Your client needs to come to you with at least page separation defining what words they want on each page. Usually, I do a storyboard here and work with the clients to roughly work out what they want on each page. It’s essential to get the balance of full-page spread, half page, and vignettes right.

3. Sketches: So, here's where I usually go off route from traditional publishing but feel free to do this how you see fit. I sketch the first double-page spread, ask for feedback while starting the second double-page spread. Once I have the feedback, I change it until the client is happy, then go on to the colour. My way means I am sketching then colouring spread by spread. I find the process a lot more enjoyable and quicker. I also find the clients prefer it as they quickly see final illustrations. 

TIP: Doing it this way means clients pay for the work you do as you do it, so make sure you are not doing any work past the amount agreed on until you get paid. 

4. Cover and handover: Lastly, I create the cover and hand over the illustrations. Make sure you have almost all of the payments before handover. 

TIP: Watermark your illustrations slightly if you are worried about payment. This means the client can see you have done the work and check if they are happy with it but can’t fun off with your designs.  

Often a book is 32 pages but this can change depending on the book being published. If it's a children's picture book, it's often hard for them to concentrate after this number of pages. All books, hardback, or paperback, must include a title page and a copyright page as well as endpapers. The copyright page consists of the ISBN number and the printer, then sometimes more information like a dedication.  

I could talk about publishing a book for days; there are so many pieces and people involved in one book; however, you rarely speak to or see any of them. If you choose to focus mainly on self-publishers, you may have to do a little more handholding when it comes to design; if this is something that hugely scares you, then ask that everyone you work with also hires a designer. Equally, if you choose to do more published work through an agent, it is unlikely you will ever do more than draw beautiful pieces of art (oh, and edit them, lots, and lots of edits).  

If you want to know more or need to ask direct questions about projects you are working on you can apply for a mentoring session with me here.