I came across this chart today by Jessica Hische and it struck a chord with me. We all know that the illustration profession is over-populated and that third level courses are churning out hundreds of talented graduates every year. There simply isn't enough work to go around which means that illustrators feel they have no choice except to offer their services for free (I think this applies mainly to editorial illustration). Being a newbie myself, I can totally understand this approach - you're hungry for work and trying to break into that particular field invariably feels like banging your head against a brick wall. If you have a few freebie projects under your belt, it might be easier to get a foot in the door to that proper, paid illustration job. But nobody can deny that it devalues the illustration market, and as a consequence, people expect to pay next to nothing for professional, high-quality illustration. To add insult to injury, illustrators are supposed to feel privileged for the "opportunity" to work for free, just for the love of it. People commissioning work know that they can easily find a hard-working, talented illustrator somewhere who will gladly do the job on the cheap.
Nothing can incite a bout of bile-churning rage in creative professionals the world over like hearing these two words: "Good Exposure". But exposure doesn't pay the rent - there is no value whatsoever in "exposure" unless it is monetary value, and very seldom do small, free jobs lead to legitimate offers of paid work.
p.s. I thought I should add, doing freebies for friends is different, which I think is totally fine.
Update: Let me direct you to a brilliant blog post written in response to this by the not-to-be-messed-with Cassia Thomas!
Update no. 2: Another illustrator and mural painter has responded to this post and raised some interesting points about pricing and consumer expectation. Some artists and illustrators sell their work on places like Etsy at such low prices, it's difficult to compete.
Nothing can incite a bout of bile-churning rage in creative professionals the world over like hearing these two words: "Good Exposure". But exposure doesn't pay the rent - there is no value whatsoever in "exposure" unless it is monetary value, and very seldom do small, free jobs lead to legitimate offers of paid work.
I think that the writer Harlan Ellison sums it up nicely in this hilarious video. He makes a good point that when amateurs undercut professionals, it makes it harder for everybody because the value of the craft is driven down. He's talking about movies here, but the same thing applies to illustration and most creative industries. An article in a similar vein of placing a value on a creative person's time, was Josh Olson's infamous rant on the Village Voice, I Will Not Read Your Fucking Script.
I know that ultimately it's the illustrator's decision whether or not to do projects for free, but the truth is that it's a vicious cycle that affects the entire market. What I just don't understand is why it is always the creative professions that are so undervalued. We spend years honing our craft, practising tirelessly, acquiring expensive materials, and basically working our asses off until our portfolio is of a professional standard, then we give it all away for nothing. I know I've been neglecting my blog of late so hardly anyone will read this but I'll throw it out there. Any thoughts?p.s. I thought I should add, doing freebies for friends is different, which I think is totally fine.
Update: Let me direct you to a brilliant blog post written in response to this by the not-to-be-messed-with Cassia Thomas!
Update no. 2: Another illustrator and mural painter has responded to this post and raised some interesting points about pricing and consumer expectation. Some artists and illustrators sell their work on places like Etsy at such low prices, it's difficult to compete.
13 comments:
Brilliant post, thanks for putting it up! I still hate the whole quoting process even after years in the process. Each time I feel the pressure of knowing that invariably the client will think you are charging too much. It is absolutely true that they do not take into account the years and years it has taken to acquire the skills that make you able to meet their commission (love that Picasso quote).
It also drives me absolutely mad how long it seems to takes clients (usually the larger ones!) to pay up. I hate the feeling when you are struggling to pay bills etc all because someone is two months late paying you - can you imagine what would happen if their paycheck didn't appear sweetly in their account at the end of each month??! How do people think it is right to have got you to do the work, and to have that work in their possession, and then not think it right to pay you straight away?!
Right, that's my mini rant out of the way - feeling much better now!
Thanks for raising the subject to others attention x
Love your illustration Sheena!
I think part of the problem is that, on the whole, creative people aren't necessarily business people. I agree that people working for free drive down the value of the entire industry, but I also feel that unless you're lucky, there simply isn't very much of a choice.
I also feel like I kind of understand it from the companies point of view (in a limited way). We're in the business of ideas - until they're on paper, illustrations don't physically EXIST except in our heads. Unfortunately then, we're the ones who have to put in the work to get the little fuckers ONTO paper. That's our commodity. And people need to know what they're buying into, no?
However, Cass is a brilliant example of an illustrator who also luckily has a head for business, and doesn't allow herself to be exploited.
I think it's also a case of valuing YOURSELF - for someone with low self-esteem *looks in the mirror* who spends MOST OF THEIR TIME drawing and living in a little imaginary world, it's often hard to fight with conviction, and believe that your illustrations really ARE valuable, and worth actual..y'know CASH.
*lucky - read as 'more established' perhaps ;)
This was a really interesting post to read, even though sadly it seems to be true of the creative industry. I agree it's a vicious circle of working for free, for exposure, rather than not working at all.
This is a really good article to read, along the same lines http://finalfashion.ca/thinking-when-to-contribute-pro-bono-illustration/
Sheena, blimmin' welldone for writing about this- and so eloquently. It's something that should be yelled about far more often!
As for why creatives get the rough end of the stick, I reckon it's three things.
1. As Faye says, many illustrators (particularly book illustrators) are shy, retiring types who perpetually undervalue themselves. Somehow there's a sense of guilt asking to be paid what we know our time is worth.
THIS is one of the types of illustrator that could really do with a good agent.
2. Colleges turn out reams of rubbish illustrators (amongst the very talented, naturally) to make up course numbers, having provided neither the rubbish or the very talented with any sort of business knowledge.
The day we first see a contract is the day we're presented with our first from a client wanting a job yesterday, and if you're not incredibly savvy (or lucky enough to have lovely, more experienced friends ((Mr Mayhew!))), you can simply end up in a bad contract through eagerness to participate.
3. The outside world (particularly the UK) see it as very nice to draw. How many times have you been told how lucky you are in your profession? Or told that, 'a friend of a friend has an idea for a kids book, and you guys should work together?' This is all lovely and not at all intended offensively, but what it really means is that no one quite understands what it is we spend all day doing, and why it's not just like kids at school with their crayola. Unfortunately this includes A LOT of clients too.
Faye, that's true, I do try to remind folk I do this as a proper, grown-up job, but I'm not sure that's made my career any easier. Clients aren't used to illustrators asking to be paid...
Do I sound bitter??? ;0)
Anyway, brilliant post, and fab illo. I look forward to reading other illustrators comments too.
Great post raising some really important issues in illustration.
I won't work for free any more as it left me feeling that my work and my abilities are worthless, self esteem is a big thing i believe for some artist and illustrators and its so hard to feel your worth.
I did not at the time realise the whole implications for working for free, however the client seemed to think they where doing me a favour!
There is immense talent out there but what i do is the best i can, i just keep going and going and hope that i too can make a name for myself and also now never working for free. One thing i think could help is as illustrators we support each other ( which i find so many do ) but support people and encourage them to know there worth and turn down the freebies...just a thought.x
Great comments everyone, it's obviously a contentious issue! I was wondering if I would get comments from illustrators defending working for free, I think that this problem is rife in editorial illustration more so than children's. Gemma, that was a really interesting article although I still find Amelia a bit hard to stomach ;-) Holly, yes I love that Picasso quote as well. It's exactly the thing that clients forget, it takes years and years till we are good enough to have a product to sell and often clients think we are just born that way, that it's a "gift" and so not worth anything. Faye, I know what you mean, I think spec work is slightly different and more acceptable though, than just outright working for free. It's still annoying though :-)) Cass, I really, really identify with your point 3! My god, how many times have people said to me (and it is meant in the nicest possible way), "oh, you're doing a children's book, aren't you so lucky to do what you love?" Their image of me happily drawing magical fluffy bunny rabbits all day long is so far from the truth, I could laugh. I think I am definitely going to get an agent soon. Heidi, I hear ya! It can be so demoralising there being so many illustrators out there, but we just have to keep trucking and support each other. Fair play to you on not working for free anymore, yay!
I certainly agree that the main issue here is the sheer number of people trying to make a living in illustration. But I'm one of them so I can't really complain about that.
I think it's a sad fact that working for free is never going to go away, there'll always be someone willing to do it. Although I've found in my experience that there tends to be a pretty clear divide between clients that pay and those that don't and it's generally fairly clear that it's to do with their profitability as a company. When I've been asked to do work for free it's almost always a free magazine, a not for profit company (charity or web based) or a new company that has yet to establish itself in the market.
It does need to be made clear that when working for free it is the illustrator doing the favour and not the client! I don't think I've ever done a free job that's led onto paid work, maybe I have and I'm unaware of it.
Anyway, I think if you're determined enough and your work is good enough then you'll find a way to succeed. Maybe illustrators just need to be a little more entrepreneurial in their approach, setting up their own brands and companies rather than waiting for commissions from those that don't appreciate them.
Really love Cass' point 3 too! OH MY GOD how many times has that happened to me!!! It is so awkward, and like the article you linked said, you end up looking and feeling like the bad guy. I had a particularly awful experience with someone who thought it would be nice to write and illustrate a story and could I have a look at it....I don't think I've ever felt more backed into a corner. And then trying to find a tactful way of saying that actually, this is AWFUL, and you should stick to your day job, was near on impossible - I'm no Simon Cowell! I was really nice and so tactful and the person just stared at me with a face like thunder, clearly pissed off that I wasn't jumping up and down about it and also, there was an awful pause when they suggested it would be great if they could get a professional illustrator on board to do it! Arrrggggghhhh!!!!
I love my job and think it is a fantastic career and feel lucky to be able to do it, BUT... I also think that it is a really difficult and lonely job too. Personally, I love the fact that because I work from home, I haven't had to compromise on spending time with my daughter after she was born, and I am a full time Mum as well as a full time Illustrator. I simply changed my working structure and work at night (sometimes, all through the night!) and when she has a nap during the day. You have to be so strict with yourself when you are self-employed as there is no boss lurking in the background ready to crack the whip if they see you slacking! Sometimes I do think it might be nice to have a 9-5 job that you can leave at the office...but then I don't think I could get away with spending most of the day not realising I have porridge stuck in my hair and snot-smear on my shoulder!!
I totally agree Sheena, as a lecturer at University collage Falmouth we often get requests for our Illustration students to produce work for free (exposure!) and unless its' for a charitable client (such as the NSPCC) we turn them away or negotiate a fee.
Bologna is an amazing place to visit and a couple of our students got positive leads this year (now have contracts) so we must all keep up with our own promotion and exposure. Good luck with your book.
Mark.
Hi Sheena, and thanks so much for this post! Its such a difficult business to be in, and I have been finding that more and more the clients are expecting to pay less for more at every opportunity. I've even had people comment that they think my prices are too high for a mural in a childs room, when I know for sure that if they were to pay someone to come in and paint the wall white they would be charging the same as I am for a whole mural! And I was already thinking I was undercharging to be able to make that comparison> But why would anyone expect to pay me less than a wall painter? I dont know :(
Anyway you prompted me to make my own blog post on this too :) marionetteshop.com. I hope that the more people making these blogs the more pressure there is on other creatives to start charging what they are worth and valuing themselves more!
Thanks again for your comments, great to hear more opinions on this:
Jake, I totally agree, we need to be creative in our approach to getting work (although sometimes I feel like I have no creativity left over for the self-promotion side of things!)
Holly, it IS so difficult. I find it so in any case, it's just not as "lovely" as it is perceived by the rest of the world. It can definitely be lonely and I do find it difficult to work for long periods with little feedback, I start to question myself and wonder sometimes if I am losing my marbles ;-)
Mark, that's so great that you try and negotiate a fee for them, I think students are easy pickings for people that want everything for nothing. Yes, Bologna is amazing! I thought it was such a good experience and great way to get yourself out there. So many great illustrators come out of Falmouth, I love Owen Davey, Viviane Schwarz (who is with Walker as well) and Liv Bargman!!
Suzy, I read your blog post, brilliant! I really have to laugh at your point about the white wall. It is a perfect example of the ridiculousness of the whole thing. You should be getting TEN TIMES the amount of a person who paints the wall white. It just shows you how a tradesperson's time/tools are valued high above an illustrator's!
Well said!
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