Thanks so all those people who participated in the poll! I really appreciate it.

Thought I would share a bit more about illustrating for self publishers. The poll I had on my blog a while back showed that there had been good and bad experiences, great money and okay money, which I am sure the same things could be said for traditional publishers, so probably not a big surprise. But now I know. . .

Also got emails from people who had both kinds of experiences too and that was wonderful first hand experience to have also.

I also emailed a person I know from a large publisher who is part of the actual process in selecting artists for their books. That was pretty gutsy huh? Not like me really. I had heard that large publisher looked down on self published artists. I didn't get that, because good art is good art. Anyway, I had the opportunity to work with this person a while back. I tried to work on two books with them, but things just didn't work out. I had another book going, it was the holiday season and I couldn't do three books at once, so they chose another artist. Now I think it would be different. . .I would make it work. Live and learn. Hopefully I will get the opportunity again.

Anyway I emailed them and they said that it made no difference to them if an artist had done self pub work. The artists they pick are picked strictly on portfolio pieces. I was thrilled to hear that it is such a relief for me.

I know there are those out there that would say it's only one publisher's opinion. . .but it a big one and for me that's enough.

Just thought you'd want to know. . .

I am going to draw a Spam Bot. A big ugly green one!

Luckily this time I had the moderation filter on. This morning I got a hundred emails asking me to approve the Spam Bots comments. What a pain! I am so very sorry but I will have to put on word verification now, as rejecting 100 Spam Bot comments was such a huge job. . .so sorry. I hope having to type in a word won't discourage comments as I really enjoy them.

Was just emailing a friend and talking about the emotional struggle of being an artist. When I came to the realization that in all arts, whether it be music, dance or painting there is a lot of practice and struggling. The difference between dance, music, painting or drawing is that dancers get physical bruises as they practice, but we all get emotional bruises. The emotional bruises don't even have to be from rejection of ones style or art. I think a lot of how we feel about our art comes from the long journey of life. For me I started art as a youngster, but nothing serious until much later in life after my kids were born, so I am trying to play catch up and do a lot of practicing now. Maybe if I had started when I was younger I wouldn't have so many emotional bruises to hold back my creativity and I would have had a lot more serious practice. Who knows.

From time to time the grind of working at my art seems overwhelming, but when I think of quitting, I realize that I would probably continue to do art even if I quit. I can't envision myself as an artist selling my paintings. I have a friend who does that. She does shows and gallery work, she is also a musician and plays in a group. But she has had years in the business and already knows the ropes. I know she would teach me, but I guess doing kids art seems like my niche. As we all know the kids market isn't a place to make good money, unless your Mark Teague. My friend has encouraged me to cross over into cards and licensing, but that is learning a whole new business and I am not sure I am up to that. . .you know?

The book I am reading, which is taking me forever, Drawn to Life, has really given me some insight into several things in making my art better. Things I hadn't actually thought about. One of those learning through someone else's experience things. Hard to put into words what I have learend. I could explain, but I am afraid it would be long and drawn out.

Anyway take heart with the struggle and know that everyone. . .everyone struggles.

I know for me it takes practice and learning from others. I don't feel I was born with a gift of being a great artist right off. But I do have determination to be the best I can. So practice is the way I learn.

I am not fond of practice, I am a person who likes to be able to just get in and do things.

When I was little, my parents gave me organ lessons. I wanted piano, but an organ is what we had. Anyway I hated the practice so much I just didnt' do it. My Mom ended up stopping the lessons. The part that is sad is that I wished I had done the practice. Why, because today I would have the enjoyment of playing and as an adult I know that being able to play the organ could cross over into Piano.

So, what is the gist of this? I am off to practice, practice, practice.

We have all been in those shaky situations where we are held captive by someone who is so involved in themselves that they have no want to let anyone else talk. They are so involved in what they are saying we aren't even sure they would notice if we left.

This little guy is in one of those shaky situations.

I got hit with over one hundred spam comments on my blog. One comment per post. Not sure what they said since they were in another language.

I deleted them all. . .and have put my blog on comment moderation where I have to approve all comments. I hate to do that, but it's necessary. Should not affect anyone commenting. . .just a pain for me.

Who is it that has enough time to want to cause people that much grief, and for what, to say they did. I hope all those spammers out there wake up to bed bugs in their beds, moths in their clothing, maggots in their garbage cans, etc, etc, etc.

There are few things in life that really get me upset but spammer are one of them. Thought about drawing a picture of a spam bot, but was afraid it would give everyone nightmares. . .

I am to have a great time in my yard.

I need to create some holiday art. Seems like I just don't have any of that kind of art. But Happy 4th anyway!

Been really busy. . .amid the flurry of painting Newton and Me. . .the book for Sylvan Dell, I have also been trying to update some of the art on my website.

After submitting the cover of Newton to my rep I realized how much of my art I had updated that she didn't have. I also decided I needed to update even more art. As I am still in the mode of developing my style, my art changes and I learn new skills. I want my art on my web page and my reps web page to be a good representation of me.

My rep is wonderful about letting her artists change their art as often as needed. Such a great thing for me as my art changes all the time. Being digital is great I can just save the file as a new file and go for it. Never having to worry that the original will be destroyed. Of course the book art can not be changed, but that's okay.

Here are a few more spots from Newton.

Another article from The New York times. . .

When the Book Review introduced a new best-seller list devoted to trade paperback fiction last Sept. 23, the editors explained that the list “gives more emphasis to the literary novels and short-story collections reviewed so often in our pages (and sometimes published only in softcover).” That suggests the difference between trade and mass-market fiction, but it doesn’t really make it clear, and many readers have written to express their confusion. This column, sitting as it does in the print edition next to the full spread of paperback best-seller lists, will attempt to explain the difference.

Read more. . .Here

This is a list I got from the to The New York Times.

PICTURE BOOKS

For the week ending June 20

If I were picking I would pick number 5, The Curious Garden. As a five year old child one of my favorite books was more like 7, Elephants Can Not Dance. My daughters choice when she was small would have been 1 (Goldilicious) or 4 (Explorer Extraordinaire) as she was a very girly girl. My sons choice when he was small would have been 3 (Gallop!) or 6 (Swing!) he loved that kind of stuff.

How wonderful that all these people can enjoy such great success, and the art work is all so different. . .

1- GOLDILICIOUS, written and illustrated by Victoria Kann. (Harper/HarperCollins, $17.99.) A girl who loves pink and purple turns to gold. (Ages 5 to 8) weeks on list 4

2- LISTEN TO THE WIND: THE STORY OF DR. GREG AND "THREE CUPS OF TEA", by Greg Mortenson and Susan L. Roth. (Dial, $16.99.) A school grows in Pakistan. (Ages 4 to 8) weeks on list 22

3- GALLOP!, written and illustrated by Rufus Butler Seder. (Workman, $12.95.) Animals seem to move when you flip the page. (Ages 4 to 8) weeks on list 84

4- EXPLORER EXTRAORDINAIRE!, by Jane O’Connor. Illustrated by Robin Preiss Glasser. (HarperCollins, $12.99.) Fancy Nancy meets the outdoors in the finest tradition of the great explorers. (Ages 4 to 7) weeks on list 8

5- THE CURIOUS GARDEN, written and illustrated by Peter Brown. (Little, Brown, $16.99.) A boy named Liam nurtures a straggly garden to vivid fruition. (Ages 4 to 8) weeks on list 10

6- SWING!, written and illustrated by Rufus Butler Seder. (Workman, $12.95.) Children seem to move when you flip the page. (Ages 4 to 8) weeks on list 36

7- ELEPHANTS CANNOT DANCE!, written and illustrated by Mo Willems. (Hyperion Books for Children/Disney, $8.99.) The author’s oft-visited elephant and pig meet a challenge and learn from it. (Ages 4 to 8) weeks on list 2

8- LLAMA LLAMA MISSES MAMA, written and illustrated by Anna Dewdney. (Viking, $16.99.) A little creature goes to preschool. (Ages 2 and up) weeks on list 8

9- LADYBUG GIRL AND BUMBLEBEE BOY, by David Soman and Jacky Davis. Illustrated by David Soman. (Dial, $16.99.) A dynamic duo’s play date. (Ages 3 to 5) weeks on list 14

10- CRAZY HAIR, written by Neil Gaiman. Illustrated by Dave McKean. (HarperCollins, $18.99.) A head on which gorillas leap and ground sloths sleep. (Ages 4 to 8) weeks on list 2

And low and behold there was my box of Moose and Magpie books from Sylvan Dell! How cool is that. It so great to see so many of them all in one place. The author Bettina Restrepo is having a debut party for the book and she invited me. Wasn't that nice! She lives in Texas though and I will be unable to go.

Thanks Sylvan Dell for giving me the opportunity to illustrate such a fun story!

The Today I am talking coffee.

Here is a page from the book I am illustrating "Newton and Me." Seemed appropriate because the Dad is drinking coffee. . .




I don't know how many of you love coffee. . .but I do. I love it cold, hot or in between. I have to limit my intake as it makes me a bit hyper and in that mode I can feel like I want to do sixteen things at once. . .not good.

I do think coffee makes me more productive, but just like wine there is a perfect amount to be consumed and for me one cup of coffee or glass of wine does it. I can have a bit more of both depending on the circumstances, but I usually stick with that amount.

I usually have one cup of coffee in the morning with breakfast and one in the afternoon just to give me that extra boost to paint or draw.

A few years ago, coffee started giving me heartburn so I only drank it occasionally. . .but! I found the neatest thing. While doing research on low acid coffee, I came across a cold coffee system called the Toddy. It takes over night to brew the coffee, but it is a concentrated brew and so the amount brewed usually last my husband and I about a week. . .and he drinks more than one cup at a time. Nice thing is it is 65% less acid and it doesn't give me heartburn! Yay! So I am back to drinking coffee again and I think being more productive. I just make it the night before and we don't make coffee again for a week. It has to be stored in the frig. They say to use 1/4 of the concentrate you make with 3/4 cup water. We like 1/3 of a cup. . .

Here is a link to the system if you are interested in learning more about it

Thought I would mention a feature in Photoshop that someone out there may not know about and find helpful.

Have you ever been painting in Photoshop and wished you could get that pesky item on the edge or the corner of the screen painted easier. When an item is close the edge it makes it almost impossible to paint. . .well here is a simple solution.

The bottom left corner edge of my Photoshop canvas is noted by the pink arrow on the bottom left of the sample below. This is not a full screen capture. The pink arrow notes the middle of my screen, so there is far more screen off to the left and below that point.

Please do not be confused by the location of my tool palette in the sample below, I keep my tool palette on the right side by my layers.

In the regular mode Photoshop opens in, it would be impossible to have your screen edge in the middle of your painting area. But, see the red arrow and circle on the bottom right of this sample. By clicking that button once you will be in a mode that allows you to take the hand tool and drag your canvas around the screen so that you can get a better angle for painting. Go ahead try. . .it's so fun. If you want to get out of that mode you'll have to go back and click the mode button again twice to get you back out.

I paint in this mode most of the time. . .

Explaining my process lead me to wondering why I started painting the way I did in the first place. The main reason is because that is how I was taught. Over time and with lots of experimentation, I feel like I am finally starting to get somewhere. Not to mention that Photoshop has evolved and I went from a Wacom tablet to a Cintiq.

I am going to try to explain my process and how it has evolved to what it is today. Some of the frustration of painting the way I did might very well have been because I am digital. Too many options.

I can and do paint traditionally. . .I don't much, but I can.

The part that is funny, is that one would think I would have taken on the process I use for traditional painting. . .but I didn't, and that is what made me question why I didn't. It seems like if I had used the process I do for traditional work, I would not have had to go through this whole contortion.

Not using the same process for traditional art as I do for my digital, might be in partially because I used a Wacom tablet in the beginning. A Wacom is not the same as using a Cintiq. Painting is much more natural with the Cintiq. When creating art on my Cintiq I often catch myself feeling as I do whenI create art tradtionally.

I think being able to use the sketch as a crutch in my digital painting has not helped either. The option to use the sketch way beyond what you could traditionally I think has held me back. I say this, because now I am not using the sketch so rigidly, and my art is becoming less painful to create and I think better.

This is the sketch I'll be using for the demo. I will blow up a portion of the sketch so you can actually see what I am talking about.

I hope this isn't information overload. . .



When I first started illustrating kids books, my process was like this. . .

In the layers palette you can select different modes for each layer. These modes effect how the layer will be viewed and how that layer can effect the layers below it. My illustration would start with the sketch on one layer and the painting on a separate layer below it.

I would change the mode of the sketch layer to multiply. By changing the layer mode to multiply, it lets the white in the sketch disappear so I could see the paint on the layer below.

As you can see there are three layers for this sketch.

Layer 1) sketch
Layer 2) paint
Layer 3) background layer (which is currently white)

With the sketch layer in normal mode, the paint below is hidden by the white of the sketch paper.








This example shows the sketch layer in multiply mode. With the sketch layer in multiply mode, the paper disappears and the paint below is revealed.




After blocking in the paint, it was time to get down to the details. In this phase of my art career once the initial paint was down the sketch was only used for reference and not included in final art. Using a line around my art to define objects wasn't a part of my process yet.

Because I was basically painting blind behind the sketch, often times when I turned off the sketch layer to see what I had painted below, I would have something like the example below. More refined, but similar. This gave me the very basics of what I needed, but it had to be cleaned up and often I felt like it wasn't efficient. If I had painted on top of the sketch I think my initial painting would have gone faster.





To get the details, I would copy the part of the sketch I was working on and place it next to my painting area . . .so I could see what I was trying to paint. The sketch was not part of the final art and I didn't use lines to define my art, but I did use it for reference.





The next step in the evolution of my art. . .

After studying some artists and trying to come up with a faster way to paint and making my art more defined, I decided that I would try leaving the sketch in the finished piece. That would save me tons of time trying to make the paint underneath have perfect edges, I thought. . .

I still painted below the sketch layer but left the sketch line in the final painting. For this type of illustration style I had to make sure the line was really tight and that I loved the sketch.

This is an example of an illustration where I left the black lined sketch on top. I actually like this a lot. . .but when I tried this with other paintings it didn't work as well.






Then I tried using a sepia color on the sketch like the illustration below. Although I like this. . .I asked myself if I would want to do this for every illustration. . .probably not.



I experimented with painting the line in the sketch with the appropriate color for the object. Except my sketching isn't perfect and if lines needed to be adjusted or I decided while I was painting that something needed to change, that meant the sketch on top of the painting had to change too! All this because I was using the actual sketch for outlines that defined the painting. Not a representation or a re-draw of the sketch, but the original sketch lines.

The lines had to be very clean and accurate if I were going to use the sketch in the final art.

This is an example of painting the sketch lines with different colors.



I also find that I change things after the sketch phase, which makes more work if you are using the original sketch to complete the final art. Remember the sketch is being used on top of the art.

When I decided to try experiment with different colors of line on my sketch. Where each objects lines could be a different color, I had to come up with a way to do that efficiently.

I am sure there are others ways to do this, but this is how I did it. . .and it worked.

Because I wanted to be able to paint all kinds of colors on the sketch lines without effecting the white areas. At this point I was trying to maintain the integrity of the sketch and not redraw lines. I wanted to speed up my process and I thought by using the actually sketch it would do that. I believe I was wrong.

Again I painted below the sketch layer, but I left the sketch layer in normal mode. I removed all the white by selecting it with the magic wand and deleting it. Then I adjusted the sketch in the levels menu, so the left over white bits would go away, leaving a clean black line.

I then locked the sketch layer. When you turn on the lock feature for a layer, nothing but what you have painted, can be painted on. All empty/unpainted space is safe. Because I had deleted the white paper and only left the line. . .then only the line accepts paint. So when I painted on that layer only the sketch lines would be painted. I thought it was pretty cool. . .not.

Please keep in mind that this is a demo and the images have not been cleaned up like I would have for real stuff.

The lock feature for the layer is shown by the left red arrow below. You click that button to turn the lock off or on. You can tell it's on by the little padlock on the right side of the layer. Once that the lock is on you can paint away and all free unpainted space will remain unpainted. That is how the lines were painted in this simple demo below.




Painting the sketch lines this way with different colors was difficult. If I wasn't careful to stop at a certain point, I would get some of the color in the wrong place. If I weren't painting in Photoshop this proceedure wouldn't be an option. I wouldn't have been able to use the sketch like this. It was infact making me feel confined.

How I paint now. . .

I hated having to rely on my exact sketch lines for the final art. I just felt confined. So even though that is how the cover of the book I am illustrating was done, the rest of the book will be done differently. No one will know. . .except you.

I don't even worry about refining the lines of my illustration until the end now. If I already have one of the items painted (like the boy) on another page, I bring it in and place it next to what I am currently painting. That way I can compare them, making sure they look alike and I can sample paint from the actual item.






I still like having a line define outside my art. . .so here is where I explain that part.

Not being locked in the original sketch lines lets me work more freely. Lots of artist use their original sketch in their finished art and it's beautiful. . .I just am not one of them.



I paint in my lines around the object as the item is being finished. It's fast and simple, even if I changed something. Lining at that point is very fast and efficient for me.

The spot pretty much done.


I sure hope some of this made sense to someone. . .and most of all I hope it might help someone. . .

It's so much better having the outlines confined to the individual objects and not all on one layer.

A couple more points. As I said before, I think one reason my process has changed is because I am using my Cintiq tablet/monitor and not a Wacom. Makes life so much simpler and versatile. I work faster because I am working directly on the art .

And lastly. . .because of my Cintiq, I now sketch on the computer which saves a lot of time because there is no tracing paper or scanning anymore, not to mention saving money. It might just make my scanner obsolete. Despite the fact that I have had my Cintiq for a while I just started sketching on the computer.

The balling is about to go drifting down the kids face. . .

From the book I am currently illustrating "Newton and Me," due out early 2010.

For those who maybe don't know, I am a digital illustrator. I took my first Photoshop class in college in 1991. Okay, so now your looking at my profile picture and saying. . .hmm I thought she looked older then that. Well I am. . .didn't go to college until after I had kids.

Back when I first started using Photoshop it had one layer and no, yes no undos or control z. . .and no history palette. For those who can still remember what a floppy is, my Photoshop homework actually fit on a floppy. Reason. . .no layers.

Since those first days in Photoshop classes many things have changed. I have taken lots of classes and gone to lots of seminars all paid for thankfully by former generous employees, to keep my self updated on every new version of Photoshop.

I painted the little girl above several years ago and she is using a Wacom Tablet which is how I used to paint. I paint much differntly now, not only the hardware I use, but the method I use. As I mentioned in an earlier post this week. . .my process changed this week.

Now I use a Cintiq tablet below and draw directly on the tablet/monitor.



This tablet has changed my life. I just love it.

In the next post or so I hope to share how my painting process has changed and hopefully show some examples. . .of that process.

Hi!

I should be working, but wanted to post this why it was on my mind.

I have only been working as a creative type illustrator for a little over five years. For those who don't know, I was a Graphic Designer and Technical Illustrator before this. I feel very fortunate to be able to illustrate for kids. . .seriously.

So basically my current style has developed over those five years and I find that daily I am learning by leaps and bounds about who I am and how best to portray my characters. Since I am a digital illustrator there are so many ways I can paint and sketch, which can sometimes be a big problem. Today I think I may have found the best way for me to paint my sketches! Wahoo!!! The part that is amazing is that it seems so obvious. . .but isnt' that the way.

I am only on page 107 of the Drawn to Life book. . .slowly but surely I will finish it. I do think reading art books and getting inside the brain of another well known artist really gives you such a great advantage.

So the purpose of this post. . .

Never be afraid to experiment with changing the way you work. My problem is that I experimented in the middle of a picture book and now I'll have to got back and re-do the pages I have done. . . it's less of a problem being digital and it will improve the look. . .so. . .

Have a great creative day. . .or evening depending on where you live!

Sylvan Dell just forwarded this story from Marian Huntings Blog. These Koalas are so cute! Take a look. . .

Marian's Hunting Stories, etc., etc., etc.: So Hot in Australia

I found a fun site that asks a series of questions and from the answers you give, it tells you how right and left brained you are. . .

Here is the results of my test:

40% Left brained 60% Right brained.

The left side of your brain controls verbal ability, attention to detail, and reasoning. Left brained people are good at communication and persuading others. If you're left brained, you are likely good at math and logic. Your left brain prefers dogs, reading, and quiet.

The right side of your brain is all about creativity and flexibility. Daring and intuitive, right brained people see the world in their unique way. If you're right brained, you likely have a talent for creative writing and art. Your right brain prefers day dreaming, philosophy, and sports.

I know this isn't really scientific. . .but it's fun.

Here is a link so you can try it yourself.

http://www.blogthings.com/areyourightorleftbrainedquiz/

Poor kid. . .he is feeling badly because of the other two kids comments.

As you may have noticed I am posting more again. . .Hopefully I will keep it up. If you have comments please do leave them. It helps inspire me to keep posting. I always ask myself. "Is anyone out there?"

My posts are usually brought to life by conversations I have in private through emails mostly. . .

Being your own best friend may sound obvious to some who are very strong in their thinking of positive thoughts about their art or themselves. It may also be easier for those who have been formally trained at a school and know what is considered good and acceptable art. And there are those who have large egos about their art, but have never had schooling in art. Their art ego relates to their ego about themselves in general.

Sometimes it's hard to keep a positive attitude about ones life course and art. Right now my attitude towards my art is pretty good. . .yeah!

Some people who have been formally trained see their art contains all the elements required. They are performing the strokes, lighting and concepts correctly. . .but their art lacks life and leaves them unfulfilled. So take heart to those who have not had schooling. Schooling does not always make one content about creating.

I attended college and got a two degree in Graphic Design. Some of my studies did include art history, working with traditional mediums like pencil, acrylics, pastels and charcoal. Art wasn’t' my focus. Most of what I have learned about creating art has been by studying other artists work, getting advice from people who have the skills and also reading. . .lots of reading and practice.

I have a long way to go. Sometimes the amount I have to learn and where I want to be seems overwhelming.

In the book I am reading "Drawn to Life" by Walt Stanchfield, he says, most of the illustrators he knew struggled with their art and have never found art easy. The illustrators he knew were truly professional and excellent artists. So comfort can be found in that they too struggle dispite their skills.

The thing I am trying to focus on and it is hard, is that everyone is not going to like my art. Sad but true. I have to admit I don't like everyone else’s art. . .so why would every one like mine.

But I think in life we need to surround ourselves with people who help us grow by giving us criticism in a positive manor. We have to be accepting of that criticism and not get our feelings hurt. If we don't accept the comments of how we can better our art. . .how can it get better.

At the same time we have to feel that those people are there to help us and nurture us. Some people are just not nurturers. Even with criticism, there has to be enough room for good feelings about our art. We have to feel that they at least like our art, so we can be strong enough to move on those critiques. I am not saying they have to love our art. . .but we have to feel they like it.

This is a very competitive business and some people just aren’t' a positive force. If you have a non positive people in your life. . . move on. . .find those to surround you that can help you grow and feel good about creating. I am not saying surround yourself with a bunch of "Yes Men," because that is not an environment for growth. But do try to find people who truly can be a positive force and care about you and your art growth.

I was just painting one of the pages of Newton and Me, the book I am currently illustrating for Sylvan Dell Publishing, when I realized how incredibly involved it is to be a picture book artist. Now I know that sounds like a pretty over the top statement and you're probably saying "Dah Sherry." But think about it. We as picture book artist create a whole new world. A world that comes entirely from within us. One that has never been seen before. Isnt' that amazing! We create every single elment in that world.

The picture I was painting when all is came to me, is a kitchen picture, with juice, cereal, coffee and all the stuff of breakfast. I had to create my own breakfast cereal box. . .wow isn't that something. I had to decide what kind of coffee maker. We decide what the characters look like and what their personalities are like. What the characters do and don't like. We even decide what they will wear.

With all of that said there any reason why this is rewarding and also challenging. We should never wonder why each time we take on a project it seems almost overwhelming! Well there is a reason it's overwhelming, it is huge! No wonder it's so hard. We have to create an entire imaginary world. . .Incredible!

I just love this job!

This kitty is only a small portion of one of the pages I have finished for Newton and Me. Maybe only one twentieth of the page. He looks a little mischeivious doesn't he. . .



Okay it's 9pm and I am off to have some downtime. . .a bowl of popcorn and a bit of zombie mode in front of the tube. I am a "So You Think You Can Dance Fan!" Of course that isn't on tonight. . . Maybe I will post about that some other time. . .

Do you like So You Think You Can Dance?

I am also a popcorn nut!

For the sake of not bad mouthing a book. I will say that I got the other book "The Art and Feel of Making it Real," and I will be returning it.

After reading my other new book Drawn to Life. . .the one above just seemed. . .well lifeless and uninformative.

Okay so I am not a fast study. . .or reader. I am on page 81 of this book and so far I am totally impressed. It is definitely changing the way I think about drawing and painting. I think it's going to give my art new life. . .seriously. With each page that I turn I get new insight and concepts to improve my art. Like I said new ways to think.

I have already tried some of the ideas and concepts on the current book I am illustrating and I can't tell you what even small changes can make to the action and motion of the illustration.

If you'd like to order it yourself. . .here is a link

Hey all. . .

I received some feedback on my poll and also got some first hand experiences from self pub artists.

There was an inquiry into why the simplicity of the poll. Others talked about whether to be compensated for samples, work for a flat fee or to include royalties. So I thought I would respond. . .

The poll was designed to give me the information I needed and that is why it may have felt simplistic. I did hope that others might also learn from the simple information I required.

I get a lot of self publishers contacting me and I have always responded with thanks for the inquiry and for loving my art enough to ask me to possibly work on your project. I' on to say that at this time I do not work with self publishers and wish them all the best on their project. I give them links to the SCBWI and Harold Underdowns website. Often I get a thanks for taking the time. . .

I am currently working on my eleventh picture book, so have an bit of an understanding of contracts and what to include in them. I would however ask people I know who are in the business to look at my contract before I signed.

If I did decide to do a self pub book, I would require payment in four parts.

25% at signing of contract
25% on completion and approval of sketches . Date for sketches to be finished should be specified.
25% on completion of cover art painting. Date for cover art to be finished should be specified.
25% on completion of final color of illustrations. Date for finished art should be specified.

Illustrators should always be compensated for any samples done. If the client doesn't want to pay for a sample the art should not be done. Artist need to respect their work enough to require that.

There should always be a clause in this type of contact for the number of acceptable changes to sketches and final painted art. The author needs to understand and work within the parameters of the contact and those numbers. The artist needs to makes sure to only specify a number of changes they are really willing to do. Any changes beyond those specified in the contact would have to be paid for and that amount should also be stated in the contract. This type of clause is not necessary in a contract a mainstream publisher.

There should also be a cancellation or kill clause in contract. Which would protect not only the artist from the author getting to demanding, but also the author from an illustrator who has not brought forth art the author feels is acceptable for his job.

As far as whether to work for a flat fee or royalties, that is up to the artist and the author. If that can’t be negotiated from the get go, the outcome seems obvious to me.

I would have to say that I would want to negotiate a large enough fee to be able to feel comfortable with not ever getting royalties, but royalties should be included in my contact, just in case the book does take off. You don’t want to be left like other illustrators who handed over their rights and the book made millions. With that said you would also want to have escalated royalties built into the contact for just that reason. Something like

7.5% of Publisher's United States Net Revenue ("Net Revenue") per copy on the first 10,000 copies;
8.5% on the next 10,000 copies
9.5% thereafter

That should protect you if the books takes off. . .hopefully.

Flat fee work is acceptable for educational book projects with large publishers because that is how they work. Flat fee or work for hire is also acceptable for other projects and that is something the illustrator needs to decide for themselves.

I recently signed on with a rep who wants her artists to work with self pubs and that is the reason I was interested in how artists felt about their experiences. My rep would be very discriminating on who she accepted and I would have to be willing also. . .the money would have to be there as well as a great manuscript.

One never knows what drama will unfold when your Mom peeks under your bed, after you just cleaned your room. . .