ImagineFx_-_December_2019

(Jacob Rumans) #1

pay a portion of the overall fee in
advance. Being unwilling to pay
standard rates. Having extremely
specific art direction, where you can
tell there will be a million revisions each
step of the way. Also, if they tell you
they had to fire their previous artist, it
likely means the artist fired them.”
Kelsey adds her own suggestions to
the list. “If someone is short with you,
leaves you feeling anxious, or isn’t
cooperative. If you offer someone your
contract and they decline to sign. If
they refuse to use the payment system
you’re comfortable with, opting for a
cheque or money order.” She adds
that it’s helpful to have a network of
artists who can alert you to fraudulent
clients they’ve had in the past.


KNOW YOUR RIGHTS
Remember, too, to examine the small
print when it comes to rights.
“Generally with large companies, you
want to maintain as many rights as you
can for reprint and reuse,” advises
Magic: The Gathering
artist Rebecca Guay. “Of
course, if it’s your first job
with them, or you’re new,
you generally have to take
what they are offering, then negotiate
a better deal later.”
Meanwhile, when it comes to
payment, Rebecca says, “Get 20 per
cent after sketches are done, 20 per
cent after a low-res image is approved,
then the balance prior to delivery of
the high-res images, or the paintings
or drawings if they’re traditional, plus a
set rate per hour on all edits.”


And the best way to negotiate all of
this effectively? “Always have your
walking shoes on,” Rebecca says. “If
you have the power to walk away from
anything, you’ll negotiate better. If
you’re completely new, you don’t own
walking shoes yet but you will, and
when you do, use them.”

Yet while keeping a cool business
head is vital when you accept a
commission, don’t lose sight of what
led you to become an artist in the first
place. “I’d say the most important
thing is to work with sincerity, even on
a small project,” says Olivier.
“Maintaining passion and being
devoted to the work is something that
clients can feel, so it really helps things
go smoothly. Keep a clear mind, don’t
ask for cheap breaking-market fees,
but be realistic. And last but not least,
have fun doing it.”

If you have the power to


walk away from anything,


you’ll negotiate better


Olivier reveals that he
doesn’t restrict the number
of edits in advance, but
usually just works until the
client is satisfied.

“With all small projects, get a contract that gives
you the best reprint right,” says Rebecca Guay.


Artist news, software & events

Free download pdf