Illustration Research Package: How To Prepare An Illustration Research Package To Minimise Your Project’s Cost?

ILLUSTRATION RESEARCH PACKAGE

How To Prepare An Illustration Research Package To Minimise Your Project's Cost?

In the previous articles I attempted to solve the mystery of illustration pricing and to guide you to your perfect illustrator. I have mentioned that one way to minimise your cost when hiring an illustrator is to prepare the necessary research for the illustration project. 

In my experience and my friends’ experience I find that regardless of our skill level all of us turn to Google before beginning any project. Let’s say your project is set in 18th century France. Most people when they think of France would think of Paris with the iconic Eiffel Tower. However, Eiffel Tower did not exist until 1889! What did the Paris of the 18th century look like? What clothing did people wear? Did men and women mingle as we do today? What was the difference between the upper classes and the lower classes—is it just in clothing, or is there a way a servant would stand compared to the master?... 

If you have plenty of money and are willing to pay an illustrator to spend a lot of time on research, please feel free to do so. However, if you are pressed for time and cash it is up to you to give your illustrator all the information he/she may need to begin illustrating the project. No one knows your project better than you, so before contacting an illustrator think about how many illustrations your project needs and what kind of visual and written information the illustrator may require. Then do the research and create an Illustration Research Package. 

Illustration Research Package 

Currently one of my projects is a fantasy novel called Warriors of Virtue. You would think that as the author I know what my own characters and settings look like. Let me see if I could explain why I do not. 

The main character lives at Empyreal Castle, crafted by the most skilled dwarfs when her family came to power at the end of the Great War. Resting atop the Empyreal Hill, the castle is a tall red-roofed and white-walled structure. It has four main doors on each of its compass sides: gold to the North, silver to the South, copper to the West, and oak to the East. 

Close your eyes and picture this castle. 

Do your castle’s walls make a square? Does it have a tower on each corner, each one of different height? Are there window corridors connecting the towers and the walls to the central circular throne room with a glass covered dome? Does the castle have outdoor terraces at the Queen’s and King’s living quarters? Are there walled gardens, kitchen gardens,… What about the stables and the grounds? Can a giant fit comfortably in the rooms? 

I think you get my point; there is much more that I see in my head than I have written on the page. There is even more that I do not see, but I know that it should be there. Ardan, the land of the Empyreal Castle, is a fantasy kingdom. There it would not be unusual to encounter giants, dragons, sphinxes, mermaids… I know of these things, but I know little about them; therefore, I have to research. How can all these different peoples live in harmony in a single castle? 

Settings are complicated, so for the purpose of this article, let’s see how you would create an Illustration Research Package for a single character. 

Designing Vert Swiftwing: Illustration Research Package Case Study 

Character Description 

Vert (vɛʁt) Swiftwing 

Lives at Forbidden Mountain 

Prince Diamond’s Captain of the Guard and best friend 

200 years old, but he looks 20 

Race: dragon-people 

Race Characteristics: extremely handsome/beautiful, look human, but can turn into dragons at will, straight hair, can have any natural skin colour, intensely coloured eyes 

Vert can turn into a green dragon at will 

Height: 6’ 4” 

Skin: Caucasian mix, flawless, permanent perfect tan 

Body type: dancer 

Hair: dark brown (looks black), slight wave (unusual in dragon-people who have straight hair) 

Eyes: very green, ranging from light green to the colour of wet leaves 

Characteristic feature: big smile that often turns into a grin or an amused smirk 

Character traits: friendly, great sense of humour, brave, kind, loyal, generous 

Character flaw: impulsive, over confident 

Dragon: Green, long body, moves swiftly and as silently as a wind, blends with the tree canopy Parents: Classified 

Sexuality: Bisexual 

Clothing Reference: Dragon-people do not feel cold or heat as humans do; therefore their clothing tends to be of lighter materials. The cut is similar to what one would see in Medieval Western Europe; tights, puffy-sleeve shirts, tunics with embroidered coat of arms, leather boots, swords, cloaks… As the Captain of the Guard, Vert sometimes wears a light silver-plated vest that can protect his chest from most cuts and thrusts. 

Costume colour combination: shades of green and brown, with gold embroidered accents 

Photographic Reference 

I usually find everything I need by Googling images with descriptive keywords. Two other great sources of images are Pinterest and DeviantArt. If these fail I go to the reference library and museums. Sometimes, I have to purchase books, too. 

Even though I have an idea in my head of what the character should look like, until I find the appropriate reference it is just a vague, blurry image in my head. As I am doing this part of the research, I feel like a Casting Director asking myself: “Who would be the best person to play the part?” 

Most of the time, I find a combination of images and blend all the people into my one perfect character. That is the beauty of art, we artists do not have to depend on an actual person to play the part. 

Sometimes, as I did while searching for Vert, I would come across a photograph of a person that fits the character perfectly. That vague veiled image in my mind suddenly clarified as I looked at the following photograph and I said: “Oh my God that’s Vert!” 

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From his shaggy hair to the structure of his face the model Stephen Walker is the perfect man to play Vert. The only feature that does not fit are his eyes, but I found them on another man: 

These are basic model photographs. As an illustrator I need to know how this character would move. Vert is someone who would fearlessly leap off a balcony and transform into a dragon. He is not human. Elements that influence his life are air, fire, and earth. 

The closest humans could come to Vert’s moves are male dancers. Therefore, I tried to find some pictures of male dancers to inspire Vert’s movement. 

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And here are some that should inspire his dragon’s shape. 

Body shape fits Vert as a dragon.

I like the humanity in this dragon's eyes.

Now that we know what Vert would look like and how he would move, it’s time to clothe him. Since this is a fantasy novel, costumes do not have to fit reality. I can mix cultures and time-frames and it will still be acceptable as long as there is a reason for me to do so. When I think of the dragon-people they are dressed in costumes resembling those of Middle Ages. So, I Googled “men’s costumes Middle Ages” and discovered a costume shop, “Dark Knight Armory”. 

I like the shirt, and maybe the vest in this photo.

I like the material of the sleeves. It almost looks like dragon scales.

Clearly these costumes are not of the quality or materials one would expect in reality, but they give me the shapes and designs to work with. When it comes to costumes and props, not only do I need to know how something looks like, but why it looks as it does. For example, if Vert was to carry a sword, what kind of sword would it be? 

In the Royal Ontario Museum there is a room of various armour pieces and each piece had a function. The variety of swords had me taking notes and sketching for hours. There were single hand swords with a short hilt. Double hand sword with a long hilt. The groove down the middle of the sword was not just for decoration, it was to direct blood away from the edges. The swords for cutting are broader, the ones for stabbing have a sharper point. The really long swords that look as if no human should be able to lift them and spears were used to hold the front line and to prevent horses from getting through… 

Vert moves swiftly. His costume and props should reflect that aspect of his character. Therefore, for everyday protection, I do not think that he would carry a heavy two-handed sword. He would most likely not even carry a sword on casual strolls, since he can turn himself into a dragon; maybe he would only wear a dagger? However, as a 200 year old man and as the Captain of the Guard he is able to wield any weapon known to man and is not afraid to take up the best to suit his needs. 

I may have to do more research depending on which scenes with Vert I’ll need to illustrate, but the character description and reference photos provided here are enough for me to start sketching. What you see above is the minimum of information you will need to provide to your illustrator for every single character. 

Settings are even more complicated. If your illustrator needs to draw them, even if you want to leave your readers with only the description saying “opulent room”, the illustrator will need to know the details: How many doors into the room? Is there a hidden entrance? A terrace or balcony? Is the room panelled or does the stone show through? Wall decorations? Furniture? Where are the windows facing? A light from a North window is different from that of a West window, especially at sunset. You need to provide visual reference and written information for everything! 

HOOTs of Wisdom

Illustration Reference Package For Authors

Research.While you are researching for your project, keep in mind that your illustrator will not only need to know how something looks like, but also how it moves and why it exists. As you are writing your own notes, keep a separate file of relevant information that you will share with your illustrator. 

List. Less is more. Time is money. There is no need for you to include pages and pages of writing. Point form list is more than enough. 

Variety.Include a variety of images from different angles when possible. The best photos for drawing people are the ones when the subjects are seen in a ¾ view. If you can, also include the subject’s profile, front, and back. 

Organise. Create a main folder for your project, then create sub folders for settings, characters, and props. Within those folders create a separate folder for every individual subject matter. You want to include a copy of the prop a character is using within the character’s folder as well as in the general prop folder. If your characters are related, make sure to include a note of their relatives in every description, because these characters will have to look alike. 

As always, if you have more questions, please write them in the comments and do not hesitate to contact me on social media. 

Cheers! 

Mili

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Mili Fay, a Toronto-based artist, classical animator, illustrator, writer, and singer, is an award winning graduate of Sheridan College and Art Instruction Schools. In November of 2011 she created Mili Fay Art determined to support the world one artwork at a time.

Her latest published work is Animals In My Hair; a story about a boy who goes for his first haircut only to find endangered animals falling out of his hair.

Currently, Mili is working on her first ever illustrated Fantasy novel, Warriors of Virtue, about a reluctant princess who must prevent a war with the dragon-people, while keeping her mission a secret from her over-protective mother.

Join Mili Fay Art Fan Club to stay in touch with Mili Fay and to be the first to find out of her upcoming books and artworks.

Mili Fay Art: “Together we support the world one artwork at a time.”

Hiring An Illustrator: Where To Find The Best Illustrators For My Project?

HIRING AN ILLUSTRATOR

Where To Find The Best Illustrators For My Project?

In my last article I’ve discussed the cost and process of illustration. I have also shared with you what you can do to make your illustrator’s job easier and keep to your budget. If you have not read the article, you may find it here.

Now, that you know a bit about the business of illustration, you may feel ready to hire an illustrator, but where to begin?

There are millions of illustrators all around the world; how do you find and choose the one that’s perfect for your project?

I am fortunate enough to be an animator, artist, illustrator, and writer. I have published Animals In My Hair all by myself. Last year at international and local fairs, I have proven that Animals In My Hair can stand with, or even surpass trade publications. Being this fortunate, I sometimes take my knowledge of art for granted and I forget that there are brilliant writers out there who cannot draw a stick figure.

As a trained artist, I can look at art and judge it for its quality in seconds; but, I ask myself, how can someone who has no training recognize quality artwork? Art is so subjective. It truly depends on individual taste. There are illustrations some people adore, yet I simply don't care for them. Does that mean that those illustrations have no merit? Absolutely not. My taste is my taste and your taste is your taste. 

The trouble with finding an artist to illustrate your work is that you are not catering to your taste, but to the taste of your audience. 

Therefore, before considering hiring an illustrator you should ask yourself: who will buy my book and what do I want to accomplish with my book*?

Illustrations from adult non-fiction books usually vary greatly from those found in children's picture books. Will your book be a guide to professionals, or something readers will use to escape reality?

If you have written a number of children’s short stories that you want to publish as individual picture books as quickly as possible, a simple illustration style of Ruth Ohi may be preferable to the detailed style of Graeme Base. Remember: the more detail an illustration has, the longer it will take to create. Ask yourself: do I really need those “Disney-style, full colour” illustrations?

Before looking for your illustrator, I recommend—scratch that—I INSIST that you visit your local book store. If there are no book stores in your area, you can also visit a library, or Amazon.com.** 

At the book store, while looking at a wall of books in your genre, choose one. The moment you pick it up, ask yourself: why did I choose this book?

The book you picked has caught your eye out of dozens. What makes it special? Is it the subject matter? The artwork? Colour?

To the designer who created that book cover, you are his/her perfect audience. That book cover has done its job and done it well.

Look at other books. Which stand out and which do not? Look at their illustrations. Why do you like them more than other illustrations?

Take note of the staff picks and best sellers, maybe even ask staff members which books they like and why.

Repeat this process through several book stores until you see an emerging pattern: what makes these books great when it comes to illustration?

Armed with this newfound knowledge, the next thing you need to consider is your budget. In my experience authors often feel that illustrators are expensive. If you read my previous article, and have a sense of the work involved, you will know what constitutes a fair price for your project.

NOTE: NEVER ask illustrators to send you a few test drawings of your characters for free. If you cannot afford sketches evaluate them based on their portfolio. 

Remember: the more detailed an image, the more time it takes to create, the more expensive it will be.

Now, you are ready to find your illustrator.

What makes an illustrator great?

Skill. Your illustrator can be professionally trained or not, but he/she must be able to draw what you need. 

If your project calls for a lot of diverse human characters, as you are looking through portfolios pay particular attention to faces, hands, and feet. Are the characters conveying emotion? Are they diverse? Do they have different body types, or are they all the same? Can you easily tell what’s going on in the image, or are you confused? Do the characters look like they are in motion and alive, or are they stiff? Look for illustrators who have a sense of layout, because you may be able to avoid hiring a designer to arrange illustrations and text.

This is an older drawing of mine when my drawing skills were not as good as they are today.

I drew this in 2014. You can see how my skills have improved when drawing a human figure.

Style. Look for the style (i.e., the way something looks) you believe should be used for your book. 

Most illustrators have a certain look to their work, a signature way of drawing. If you feel that their look is something you want replicated, get in touch with them. You may get lucky and have the artist start working for you right away, but be prepared to be placed onto a waiting list. There are also a few illustrators (I fall into this category) that work in multiple styles. In forums, some have suggested that you should not trust these illustrators, because they may not be able to produce the look you want repeatedly. To that, I say: “Poppycock.” I can recreate any style that I have ever created. Animators are trained to do this, otherwise artists who worked on Disney’s The Lion King would have been out of jobs once Hercules came across their desk. The reason I choose to switch up my styles from time to time is because I’ve worked on different projects. Illustrating for the National Geographic is different than illustrating a picture book for a toddler. Personally, I feel that working on different projects and in different styles keeps my work vibrant.

"Emperor Trajan"

"Animals In My Hair" Cover

"Dancing Grandma" 

Horsing Around: "Dream, Little Dreamer"

Award Winning "Fox"

"Warriors of Virtue"

"Warriors of Virtue"

"Elle Burton and the Reflective Portals" Front Cover

Marvel's Agen Carter

Diversity. Would the illustrator’s work stand out from the wall of books at your local store, or would it blend in? 

Remember all the research you have done at your local book store? This should give you the idea whether the illustrator you are considering would be the perfect fit for your project. If his/her work is too similar to books already at the store, you may wish to find another illustrator.

Dedication. Is the illustrator excited about your project, or is it only a job? 

Professional illustrators draw constantly. Eventually, the projects they encounter may lack novelty and appear repetitive. Even when jaded, professionals would produce excellent work. However, if you can get them excited about the project, then their soul, joy, and passion will be captured in the artwork. For example, recently I illustrated the cover for Peggy M. McAloon’s Elle Burton and the Reflective Portals. I love this book; I love Peggy’s idea and what she wants to achieve with her book; I love fantasy; and I love drawing people. I was given free reign to create. As a result, the project was pure joy and I could hardly wait to work on the illustrations every day. Now, if someone asked me to draw a bunch of FBI guys leaping out of a helicopter, guns drawn, fighting with machines… I could create a strong, action-packed illustration, but I would not enjoy it. I do not like drawing machines, buildings, and weapons (unless they are medieval). The only bit from that project I may like drawing are the people, but these people would also have the same body type and clothing—boring! Bottom line, if an illustrator is excited about your work, everything about the process will rock! 

Professionalism. If an artist gives you a deadline, they should produce the work by that deadline.

Sometimes the unpredictable happens; such as my computer dying the first time I decided to create an all-digital illustration. However, the artist should inform you immediately of circumstances that may cause delays. There should at least be a simple agreement between you and the illustrator, outlining what you can expect to receive and when. Pay special attention to revisions. In order to maintain focus and keep the project moving swiftly, I give my clients only one or two free revisions. Bottom line, working with a great illustrator will result in a professional collaboration.

HOOTs Of Wisdom

Where to find your illustrator?

No budget. Your only hope is a family friend with lots of time on their hands. 

Approaching an illustrator with a promise to give him/her a percentage of future proceeds (the stars and the moon) if they illustrate your book for free will always result in a: NO. Illustrators are professionals and they do not work for free. Self-published books from unknown authors are useless or illustrators' credibility and portfolios. The only time an illustrator may work for free is if you are a major celebrity and they know there are millions of people awaiting your book. For example, if Neil Gaiman asked me to illustrate his cover for free in exchange for 20% of his income from the book, I would say: “OMG, it’s Neil Gaiman!!!... I mean: Yes, Master.”

Low Budget. I have sometimes seen authors get excited, because they can get an illustration for five dollars on Fiver, or they cut and paste images with a computer program to create their own illustrations. To this, all I can say is: you get what you pay for. 

As a self-published author your work must at least match trade publications, if not surpass them, if you want your book to succeed. 

If you cannot afford a professional illustrator, I suggest you save up until you can. Even someone who is a good artist, may not be a good illustrator. If your story is that great, try to raise money through Kickstarter or find investors.

If you do not want to wait, visit schools that train illustrators/artists. The students will soon be professionals and they will likely be able to create excellent work for a smaller fee than an already established illustrator. The first professional illustration job I got was in my first year of college when I won the contest to illustrate a poster for Bone Wellness’ Osteoporosis Galla. I painted two dressed up skeletons dancing and my clients got the poster, original painting, as well as the copyright for $500. If I charged them as a professional illustrator for that project, I would have given them the poster for $1000, but kept the original painting and copyright. If they wanted the painting, I would have charged an additional $500. For everything I would have charged $3000.

Professional Budget. From the previous article you may be able to calculate what a professional illustrator would charge. If you have a professional budget, you can find thousands of illustrators online.

My advice is to search trough DeviantArt. I’m not sure, but I think this is the largest database of artists in the world. You can search the site by genre, subject, etc. In the profile section, you’ll be able to to read about the artist. In the comments you can see how the person reacts to criticism, what others think of him/her,... There are a lot of amateur artists, but you can also find famous professionals. Then, there are a lot of artists who are professionals, but are not yet famous. Here you will strike gold. If you hire an artist to illustrate your book before they become famous… Sky is the limit. 

A new database of professional artists is ArtStation. I have not explored this site as much, but you may wish to try it out. 

You can discover further artists on Pinterest, Tumblr, Instagram, Twitter, Facebook,…

You can meet them in LinkedIn Groups. I belong to several illustration and publishing groups. 

You can always Google “illustrators database” and add the word for what kind of illustration you are looking for. Example: I searched for “children’s illustrators database” and got the following websites: 

http://www.childrensillustrators.com

https://www.scbwi.org/illustrator-gallery/

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And there you have it; the latest HOOTs of Wisdom! 

As always, if you have any questions do not hesitate to contact me. If you would like to hire me, I’m sincerely flattered, but currently I’m not looking for additional projects. However, I will be interested in illustrating and designing book covers for fiction chapter books: fantasy, romance, young adult, and mystery. To get yourself on the waiting list, please send me an email describing your work and what you would like me to illustrate, samples of book covers you like, and any other information you think would help me decide that I am your perfect illustrator.

Wishing you only the best!

Mili

*It can be any illustration project, but let’s pretend in this case it's a book.
**If your book is to be digital only, make sure you research Amazon.com, and whatever other platform you intend to sell your book through.

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Mili Fay, a Toronto-based artist, classical animator, illustrator, writer, and singer, is an award winning graduate of Sheridan College and Art Instruction Schools. In November of 2011 she created Mili Fay Art determined to support the world one artwork at a time.

Her latest published work is Animals In My Hair; a story about a boy who goes for his first haircut only to find endangered animals falling out of his hair.

Currently, Mili is working on her first ever illustrated Fantasy novel, Warriors of Virtue, about a reluctant princess who must prevent a war with the dragon-people, while keeping her mission a secret from her over-protective mother.

Join Mili Fay Art Fan Club to stay in touch with Mili Fay and to be the first to find out of her upcoming books and artworks.

Mili Fay Art: “Together we support the world one artwork at a time.”