What's It Like Being a Licensing Illustrator?

[Bruce Lee]

Well, it's not as easy as you might think. Licensing means that you'll be providing full illustration for an entire book. This means you'll be penciling, inking and coloring the book. Sometimes, you'll also illustrate the cover too. The world of licensing art is deadline-centric. The product has a target date to hit the shelves, and if it misses that date, a lot of money is lost, and people get fired--this includes editors too!:eek: There's also a question of branding. The product has to look a certain way, so every single page has to be approved by the editor (sometimes, more than one) and the publishing party. For example-the BATMAN: RACE AGAINST CRIME storybook I'm currently illustrating has two parties to please. First, there's my editor at DC Comics. DC hired me, and is paying me, so he is the first guy I must please with my work. Meredith Books is the company that will be publishing this book, so I must also get approval on every page from the Meredith editor as well.

The way things work is this. You are sent contracts and/or vouchers for the work at hand. You also receive a manuscript and/or a PDF of the book layout, which is usually just the shape and dimension of the page with only the narrative text added in. Otherwise, it's just a blank page. Sometimes you have descriptions and art suggestions to follow, and sometimes it's all up to you.

Once the contract/voucher is signed then the first face is to determine the look of the product. With license products like KRYPTO THE SUPER DOG, which is based on the tv show, the look is already established, so you'll receive a book of model sheets called a style guide. If no style guide exists though, you might be ask to create the style. I had to do this on SUPERMAN RETURNS: "THANK YOU, SUPERMAN!", and on BATMAN: "RACE AGAINST CRIME". Since we're dealing with kid's books here, the publishers usually want a kid-friendly style for their books. In the case of the Batman book, they wanted something that had an animated edge too it, but also something that was a little more realistic in approach than say the BATMAN ANIMATED tv series. This meant that I had to come up with a look somewhere in the middle. That meant sending in Batman and Joker designs for approval. Once the character designs and style gets the thumbs-up treatment, then you can start in on the book. If you're doing a cover, that's usually the next order of business. If not, then it's off to laying out the book. All layouts/pencils for each page have to be sent in for approval. Once the layouts/pencils are approved, then the inks must be submitted. Then, finally, the colors. When I started doing licensing in 1998, I used to mail in my original pages, but these days, I send things in via "EPS" or "TIFF" files, uploading stuff to ftp sites. Once the book is finished, then I get paid for my efforts. When the product comes out, I usually receive "comp" copies of the product (2-5 copies is pretty standard).

For me, the most difficult part of my job as a freelancer is going through the approval process. Sometimes you can't move forward because you're waiting to hear back on approval. You can't ink a pencilled page that hasn't been approved. Often changes are requested so you're at the mercy of others. Patience is a good virtue to have sometimes. Generally, you won't be waiting too long though. The books have to meet deadlines, so editors don't often drag their feet when it comes to getting back to you. Once corrections have been made, the work has to be re-submitted for approval.

Any questions?

Loston

[Justice41]

Sounds like my Rendering gig. Did they want you to match Ross' style or did they have sample art they wanted?

[ssjtom]

It sounds pretty work intensive, and obviously you do the job because you love it, but do you ever find the pressure of deadlines and multiple editors getting to you and just pissing you off?
Or do you find it pretty easy to just flow through your work and not let any of it bother you?

[Bruce Lee]

It sounds pretty work intensive, and obviously you do the job because you love it, but do you ever find the pressure of deadlines and multiple editors getting to you and just pissing you off?
Or do you find it pretty easy to just flow through your work and not let any of it bother you?

Well, most of the time I handle the stress of deadlines okay. I often email or call up the editor to give them a status report on things. This helps to put their mind at rest on how things are going. And it also gives them some idea if the pace is too slow or not. If it is, they'll let me know about it pretty quickly. It's just good communication, and helps deflate their worries and mine. The absolute WORST thing you can do if you're running behind on a deadline is to duck from an editor. Most of the time, an editor will try to help you meet a deadline anyway they can, so avoiding them is a VERY foolish thing to do. It's very immature and often gets guys fired. If you're running behind, an editor might be able to free up more time in the schedule for you, or remove some of your workload, or even bring in someone to aid you in your endeavors. All of those things are better than losing your job. If you show an editor you're a team player, you'll always be welcomed on the team. If you give attitude, act like a prima donna, don't return there emails and phone calls, you're going to find yourself out of a job pretty soon. I've seen a lot of guys blow it in the comic book and licensing art business because they just don't know who to work with people, or think they're more important than anyone else in the production chain. It's a very selfish attitude to have, as it just adds stress and burden on the next guy down the line. If you're late writing a script, then the artist usually gets less time to draw. If you're late with the art, the inke,r or the colorist, or the proofer gets less time to do their part. Being part of a production team is a responsibility. Hitting your deadlines and good communication are essential.

Loston

[Ugga Bugga]

This is an area that I think is often overlooked. Many people who dream of working in the comic field dream of being the Batman artist on a monthly title, or want to be the next _____________________ (fill in the blank for great, well known comic artist).

With licencing work, one probably toils in more obscurity than someone on a monthly title. However, the work seems like great work, doing what you love to do. It seems that there are a ton of advantages to that sort of situation. (More anonimity, less need to suck up).

My guess too, is that if you do a good job, it seemingly can bring a series of gigs, which can keep you going for a long time.

[Bruce Lee]

This is an area that I think is often overlooked. Many people who dream of working in the comic field dream of being the Batman artist on a monthly title, or want to be the next _____________________ (fill in the blank for great, well known comic artist).

With licencing work, one probably toils in more obscurity than someone on a monthly title. However, the work seems like great work, doing what you love to do. It seems that there are a ton of advantages to that sort of situation. (More anonimity, less need to suck up).

My guess too, is that if you do a good job, it seemingly can bring a series of gigs, which can keep you going for a long time.

Yeah, WIZARD Magazine doesn't beat down your door for interviews when you work as a licensing illustrator, and if minor celebrity was my goal, then licensing work would be very disappointing. Lucky for me, I don't really care too much about all that. I just like drawing superheroes and all things larger than life. I'm generally a happy camper.

Loston

[AlphaMale73]

Do you think or would you like to be an artist on a monthly title Loston? I know that you could I was just wondering if you had the desire to do so. Deadlines are very much a part of the business. Professionalism is key as well. I think you have a very positive work ethic and you aren't haughty either. You are always willing to help a noobie. You are truly appreciated.

[Bruce Lee]

Do you think or would you like to be an artist on a monthly title Loston? I know that you could I was just wondering if you had the desire to do so. Deadlines are very much a part of the business. Professionalism is key as well. I think you have a very positive work ethic and you aren't haughty either. You are always willing to help a noobie. You are truly appreciated.


I would like to pencil a monthly comic series for either Marvel or DC, and in the past, I have tried to get comic work with both companies. My work was met with good response, but it never lead to any comic work. The reality back then was fewer comic titles, and companies weren't as willing to take chances on new guys. That was back in 2003, and I haven't seriously pursued comics since then. However, I will have a one-shot comic, LORNA, RELIC WRANGLER, that will be published by Image Comics next year, and I may try to get work with DC or Marvel in the future. Until that time, I have a BATMAN book on the shelf, and a SUPER FRIENDS book about to be released, and I'm working on a second SUPER FRIENDS project. I also provided some illustrations for THE ELDRITCH NEW ADVENTURES OF BECKY SHARP, a pulp novel that will soon be available, so I'm keeping busy.

Loston

[closetmonster]

How do you become a License Illustrator? do you simply submit your portfolio to companies like Meridith? or do you have an agent who finds these gigs for you?


thanks Loston

[Bruce Lee]

How do you become a License Illustrator? do you simply submit your portfolio to companies like Meridith? or do you have an agent who finds these gigs for you?


thanks Loston

In my case, I submitted a portfolio of art to a DC Comics Licensing Editor, and I was lucky to get work on my first try.

As for submitting portfolios to companies that produce licensing children's books, I'm sure that artists are always needed. My first jobs working with Meredith were in conjunction with DC Comics, working on a SUPERMAN book, and a SUPERMAN RETURNS storybook. DC hired me for those jobs, and they were the paying party, with Meredith being the third party publisher. The Meredith editor was impressed enough with my artwork, attitude, work ethic, etc that he asked me if he could add my name to his talent list. Naturally I was happy to affirm that he could do so. A short time later, the Meredith editor called me up and asked me if I wanted to do the SPIDER-MAN 3 Movie SOUND BOOK, Meredith being the hiring and paying party.

So submit some artwork to companies like GOLDEN BOOKS and SCHOLASTIC. Sadly, I've heard that MEREDITH BOOKS is actually getting out of the children's book business, so I don't think you're going to have much luck submitting to them. My advice is to look through the children's book sections for licensed books, and see who the publishing companies are. Don't be afraid to submit work to parent companies like DC or Marvel Entertainment either.

Loston

[closetmonster]

In my case, I submitted a portfolio of art to a DC Comics Licensing Editor, and I was lucky to get work on my first try.

As for submitting portfolios to companies that produce licensing children's books, I'm sure that artists are always needed. My first jobs working with Meredith were in conjunction with DC Comics, working on a SUPERMAN book, and a SUPERMAN RETURNS storybook. DC hired me for those jobs, and they were the paying party, with Meredith being the third party publisher. The Meredith editor was impressed enough with my artwork, attitude, work ethic, etc that he asked me if he could add my name to his talent list. Naturally I was happy to affirm that he could do so. A short time later, the Meredith editor called me up and asked me if I wanted to do the SPIDER-MAN 3 Movie SOUND BOOK, Meredith being the hiring and paying party.

So submit some artwork to companies like GOLDEN BOOKS and SCHOLASTIC. Sadly, I've heard that MEREDITH BOOKS is actually getting out of the children's book business, so I don't think you're going to have much luck submitting to them. My advice is to look through the children's book sections for licensed books, and see who the publishing companies are. Don't be afraid to submit work to parent companies like DC or Marvel Entertainment either.

Loston

could you tip me on how to make a good portfolio to submit?

thanks again!

[benrosa]

bumping.bumping.

[benrosa]

could you tip me on how to make a good portfolio to submit?

[Bruce Lee]

could you tip me on how to make a good portfolio to submit?

A portfolio for licensing artwork? Or comics?:confused:

Loston

[benrosa]

A portfolio for licensing artwork? Or comics?:confused:

Loston


For Licensing work buddy.

[Bruce Lee]

For Licensing work buddy.

The easy answer is to say that you should gear your portfolio towards the company you are submitting too. Seek out childrens books on the shelf. Often they publishing company addresses are listed on the copyright pages of the books they publish. Find out what licenses and branding the company publishes. Do some homework. For instance, if a company has license for DISNEY characters, submit samples showing DISNEY related characters.

Try showing some diversity as well. If you can draw in more than one style, it might not be a bad idea to submit two separate sample packets, each showing the different approaches.

I don't recommend submitting too many pin-ups. Art directors/editors probably will be interested in seeing more than just your ability to draw characters on-model. They will be looking for artists who have a good sense of visual storytelling skills, so make sure that you draw images where some sort of storytelling is involved. Here's an old submission image that helped me get work with DC's BATMAN licensing editor back in 1998. Notice that there's actual storytelling taking place in the shot, and that it's not just an image of Batman standing in a dynamic pose. I feel like this sort of thing helped me get hired:
http://www.lostonwallace.com/batcat.jpg

A half dozen images or so should be sufficient for a sample packet. Show only finished work. No WIP. It is to your advantage to show complete work, as most companies hire illustrators to do all of the artistic chores on a book or product. This means you should have some samples of full-color illustration. With a comic book licensing company like DC Comics licensing or Marvel Entertainment, you can show different stages of work, like the pencils, the inks and the colors individually, as those companies often hire people to do individual art chores.

Be sure to include your contact info on all the individual pages making up your sample packet. This info should clearly and neatly present your name, address, phone number, email, website, etc. It's vital to have this info on each page.

Also you should include a brief letter of introduction. Be pleasant. Let them know that you are seeking work from them as a freelance illustrator. Be sure to mention any of your past published credits if you have some. Be sure to thank them for their time and their reply.

Present your portfolio in a professional manner. Send quality photo copies/color copies of your work, bound in a professional looking binding. 8.5X11 size is ideal. Simply stapling together pages will work in a pinch, but it won't do you any favors from a presentation standpoint, and might actually misrepresent you as being an amateur. Spend a few dollars and make your submission packet look nice and organized.

Submit to several companies, not just one. That, obviously, will increase your chances of getting work.

Present only your BEST work. Otherwise, don't bother. You want to impress art directors, so do something impressive.

I can't give you much more than that. Hope that helps.

Loston

[benrosa]

Thank you for the tips and samples Loston!!!!!!

If it's OK with you, I'd like to PM or email you what I compiled as a portfolio just to get your opinion,


thanks again buddy

[Bruce Lee]

Thank you for the tips and samples Loston!!!!!!

If it's OK with you, I'd like to PM or email you what I compiled as a portfolio just to get your opinion,


thanks again buddy

Sure. I'll do what I can, provided I'm not swamped with work.

Loston

[KNIGHTMARE]

hi.. well I'm still 14 but thinking about the future I'd like to be a comics artist.. I wanted to know if the payment is good working on one-shots and not on monthly series.. I mean, if you can pay the bills only from that?

[Bruce Lee]

hi.. well I'm still 14 but thinking about the future I'd like to be a comics artist.. I wanted to know if the payment is good working on one-shots and not on monthly series.. I mean, if you can pay the bills only from that?

Howdy.

Freelancing for a living (ie: taking on jobs as you can find them) is hard work, and it's often difficult to make a good living at it--especially starting out. Once you are established and have steadier work from bigger companies with better pay, it's possible to pay the bills freelancing, but you still have to hustle.

My advice on becoming an illustrator/comic artist/cartoonist for a living: Do it because you love to do it, and because it makes you happy doing it. You will probably make much better money going into other kinds of work. Only a very few rise to the top of the industry and make decent pay, and fewer still get rich doing this kind of work. Think long and hard before you decide it's a career choice. I make a living at it. Many can't. I love the job, and I don't think I'd be happy doing anything else. I didn't get into this line of work because I thought I could be a millionaire doing it, or that I could be a pseudo-celebrity in a magazine "top 10" list. I do this because I love drawing, the challenges of drawing, comics, and if I can get paid and make a few people happy with my work in the process, I walk away a happy camper.

I am one half of a two income household, so things like benefits and medical care, luxuries you don't have as a freelancer, are taken care of. I shudder to think of freelancing without those things, but people do it. Just make sure you want to draw for a living before you commit to going this route. It can be a very rewarding lifestyle, but it has many pitfalls as well.

Loston

[NickRocks]

The world of licensing art is deadline-centric. The product has a target date to hit the shelves, and if it misses that date, a lot of money is lost, and people get fired--this includes editors too!:eek:

Any questions?

Loston


yeah...why arent comics more like this? :D

[Bruce Lee]

yeah...why arent comics more like this? :D

http://www.lawofattractionsuccessstories.com/wp-content/uploads/2009/06/puzzled.jpg

[N.O.D.]

I'm confident that this baby will provide an answer for us once he has completed his research.