By Steven Heller, Marshall Arisman
This consultant to the fine details of contemporary dynamic representation enterprise tells budding illustrators every little thing that their instructor did not recognize or their paintings director did not inform them. utilizing an unique, working narrative layout to examine key matters each illustrator needs to face this day, this booklet covers discovering one's detailed type and developing a stability among paintings and trade; tackling problems with authorship and advertising; and extra. In-depth views are provided through illustrators, paintings administrators, and artwork purchasers from numerous industries degrees on such matters as caliber, fee negotiation, and illustrator-client relationships.• comprises an afterword by means of Milton Glaser, recognized designer/illustrator• From the authors of The schooling of an Illustrator (1-58115-075-x)
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50 IBI 01 08/24/04 4:51 PM Page 51 Talking about Art and Illustration HELLER: We’ve talked at length about how illustrators develop a personality within their work, but what is the difference, if there is one, between art and illustration? ARISMAN: The line between commerce and illustration is not as simple as it appears at first glance. The assignment, the printed page, being paid money, do not automatically produce commercial art. Renting a studio, buying canvas and paint, and painting anything you want does not automatically produce “fine” art.
You are about to get one reaction. Many more will come. Do listen if five art directors say the same thing about your portfolio. Do see as many art directors as possible. Do not get depressed by only one negative response. 20 IBI 00 d 08/24/04 4:50 PM Page 21 P R O M OTI O N Every illustrator falls into the traps of self-promotion. There are right and wrong ways to do things, here are some: Don’ts Don’t buy a mailing list if you don’t know what is on it. Take the time necessary to become familiar with the work art directors do.
Pyle, too, was outraged. He had been seduced by his own illusions. The magazine’s selection of his kind of art, he believed, was driven by its recognition of the importance of his paintings. He was convinced that they, like him, knew that their success was due to his art. His was an ego out of control. That the publishers would turn on a dime if they could make greater profits by changing its editorial content never occurred to him. “The finest art critics in the world were more interested in money than art,” he said bitterly.