We’re doing a themed blog post today, and it is all about commissioning art. I often have trouble with speaking as an authority on anything because I feel I never know enough. But it turns out you don’t have to know everything to be somewhat useful, and I have been working as an illustrator for +-16 years. I also understand the frustrations of indie authors who appreciate art but are tired of being scammed or DM’d with impersonal offers of commissions.
Hopefully, any prospective art patrons reading this have already spent a bit of time following particular artists on socials, learning about their processes, and browsing their portfolios and price lists. I won’t tell you not to commission AI prompters, but the rest of this article assumes you are looking for a human-made artwork.
Uses for Commissioned Art
Character art and scenes can be purely for your personal enjoyment. They could also be used in merchandise, posted on socials, or appear in a special edition of your book. You will want to discuss the possibilities with your artist. Ideally, they have a contract covering artwork usage.
Depending on your personality, your approach to commissioning art could lean towards one of these categories more than the other:
• You already have a specific vision that you would like the artist to render
or
• You want an artist’s interpretation
You will likely want a blend of the two approaches (creatives are not known for their tendency to narrow their options). So, let’s look at some features of both.
Specific Vision
• You have done your research. You have moodboards, casting choices, spreadsheets of character information and Pinterest boards full of hairstyles and clothing choices.
• You take reference photos.
• You like updates throughout the process. Rough sketches at the very least, are always a good idea.
• There will be some ideas you have that are non-negotiable, but try to also accept input from your artist. They are your visual beta readers and may see things that you miss. For example, I cannot see the difference between species of weevil, but an entomologist would pick up on them. Problem-solving through communication is key.
Artist’s Interpretation
• You love fan art. Maybe your artist doesn’t have time to read your book; give them some scenes and descriptions of your characters to engage their imagination. Let them meet your characters before they draw them.
• Maybe researching armour for your epic fantasy world gives you a headache? You want to entrust it to someone who can make it look cool and plausible. If you are writing historical fiction and require more accuracy, your artist may need some links to information on the period.
• Character descriptions don’t need to be intimidating. Besides the all-important hair and eye colours, you can consider things like build, nose shape or size, freckles, scars, or face shape.
DIY
There is a lot you can learn to do yourself, from formatting to editing to narration. But for every new person you bring on board, your project grows a little further beyond you. Maybe you already give a lot of yourself, and you actually need a project that is all yours. But if you’re like me, it could be healthy to relinquish some control and get excited about other creatives’ contributions. Hiring professionals can be expensive, but if you spend a bit of time showing a genuine interest in other creatives, you will find a lot of people are willing to accommodate your budget and offer some services at a reduced rate. You will have someone to tell people about your book and word of mouth advertising is much more powerful than other avenues.
As an artist, I still may one day commission someone to paint my characters in a style that is very different from mine. I am a bit shy of sharing my own pictures of them. It feels like I am dictating how they should be imagined. Honestly, my main cast appears a little differently each time I return to them.
Advice to New Artists
Don’t underestimate social currency. In my early years, I behaved much like an AI in my approach to art. I didn’t want to engage extensively with clients, I undercharged them, and I would agree to do any style they asked for. As an aside, I think my versatility has slowed my career progress. It has taken a long time for me to settle on a style that feels like home. But technical ability is all that matters, surely?
An artist’s asking price is not determined by skill alone, it reflects what their last client was willing to pay for their work. It’s not always fair. If you are from a well-connected family, that number will likely be high even when you are a newbie. Reputation doesn’t grow overnight and people are paying for the attention your reputation will bring to their project, not just your skill. I am currently asking between 65 and 90 USD for covers. My field of expertise is in children’s book illustration so, in that area, my prices are higher. I do not have big publishers or organisations like Wizards attached to my name, but I can offer fellow indies a good quality product and tell people about it.
Today, I would say focusing on the journey and not the destination is more important than ever for emerging creatives. It’s also worth noting that this journey is a marathon, not a sprint. Explore new ideas in private and market a consistent style that you enjoy working in. Your brain pathways and muscle memory will develop so that you grow quicker and quicker at working in your preferred style.
If you find any of this valuable, please let me know. It will help me decide on topics for future blog posts.
C B Lansdell 