A fine-art student at London’s Croydon College recently approach me and ask some questions about working as an illustrator, I wanted to share them below in case they help anyone else out… (Read on …)

Further to the question of how to show glitter on greeting card mockups, here is a real example of one of my greeting cards that has a pearly foil pattern in the background, on the text, and embossed flowers. When I created this card, I had four printouts from the layers in my Adobe Illustrator file…

1) The Print Only Layer shows what will be printed in ink on the card. (Click to see full-sized images)

2) The Foil Layer shows where glitter or foil stamping will be used. Note that when you go to send the design to a printer, if there is more than one colour of foil used, you will need to make separate layers in your files for each colour.

3) The Emboss / Cup die Layer shows the outlines of what shape needs to be created with the emboss.

4) The Mockup shows where the foil and emboss layers are meant to line up with the printed image below.

If you are sending a card design to a greeting card publisher and wish to show foil, glitter, or embossing, the simplest way to do it is to show it in black printouts separately from the design itself. You can find more of my greeting card tips here.

Question: How do you show publishers glitter throughout illustrations? Answer: Typically you would show this in a separate printout simply in black. If you have design software such as InDesign, the easiest way to do this is to create a layer for the illustration and text, and a separate layer for the glitter/foil. Then you just block in the area you want glittered in black on that separate layer. Otherwise, you can simply tell the publisher in your cover letter that you want the book to have glitter throughout. You can send a small sample of it with glitter hand applied on a copy of the illustration, but I wouldn’t recommend mocking up the whole book this way… if your book gets picked up by the Publisher, then you can discuss your ideas for the rest of the book. (I’ve posted screen shots with examples of foil and emboss on a real greeting card mockup here.)
Question : Who decides the shape of the book (square, landscape, portrait etc.) - the illustrator or the publisher? Answer : The publisher usually has specific sizes they work with, but there is some flexibility there if the illustrator has their own great ideas!

Question : I plan on approaching publishers with my finished artwork… what if they want a square book when i have drawn on a rectangular page, or vice versa? will i have to redo all my illustrations? Answer : I wouldn’t recommend submitting your manuscript with all the artwork finished… a potential problem with the size is the least of your worries, as most publishers don’t like to receive the illustrations and manuscript together. In most cases either the illustrator can’t write, or the author can’t draw! Occasionally you get a person who can do both, but it’s best if you submit the two separately. If you want to send one sample of your illustration that would go with the book that would be alright. Also… Publishers have a wealth of experience, and their tips and feedback can actually improve your illustrations, so illustrating the book after the manuscript is accepted is a great way to go.

Question: Does the publisher/ author tell u what media they want u to use? Answer: Usually publishers select an illustrator based on their style… so if they hire you, they already like the media and style you use! If you have more than one style, they will tell you which they were drawn to. Often there is flexibility there if you feel your illustrations would look better in a different media, that’s open for discussion with the publisher.

Just received an email from a fellow illustrator with some questions about sending samples to publishers…
Question : I have recently written and illustrated a children’s book that has been rejected across the board. But aside from, I am deeply interested in illustrating books that other authors have written. Would you be able to offer any advice as to how else I could go about getting recognized in the industry? I have sent illustration samples to almost 200 publishing companies and still nothing.

Answer : Thanks for your letter… Would love to give you heaps of advice, but am a full time mum now so haven’t much time on my hands…

The main tip I have is to make sure you are doing research so that you are sending samples to publishers who actually handle children’s books, and that you comply to the way they want manuscripts sent. (Publisher Catalogues is an extensive online database.)

Publishers don’t really want illustrations and manuscripts sent together… they often find either the illustrator cant write, or the author can’t draw! (See my notes from a meeting with Omnibus Books Editor here.) Try submitting your samples and manuscripts separately.

Also… Have patience! Sometimes your samples just arrive at the wrong time… It took me two years of sending samples out to get my first kids book job. Publishers often have their books planned for a couple years in advance, so they may just not have the work yet.

You can also include a response card in your samples, so that they can tick it’s been received, or even leave a comment if your work isn’t suitable for the types of books they publish.

I’ve also posted lots of tips for illustrators including ideas for how to send samples and approach publishers.

I received this question from an aspiring children’s book illustrator…

Question : I was wondering if you could post some information about finding a mentor. It would be great to have someone to contact when a question comes to mind or when you need support and motivation.

Answer :  I don’t really know of any one place to get in contact with artists who mentor, but I think you’ve already done the best thing I could suggest…  email other artists and ask them questions about their experiences! Since college I’ve continued to “meet” other artists online by commenting on their blogs and keeping in touch with those who I’ve hit it off with. Of course not everyone has the time to reply, but it doesn’t hurt to drop an email to artists you admire and see who writes back! If you’re interested in just simple critique of your work, you can always post your images up on forums (such as the How Design Forum.)

I received an email from another aspiring children’s book illustrator with a bunch of great questions…

Question : How do you find publishers?
Answer : I look at the back of books that I like and note the name of the publishers, often there is a website listed there so I’ll go visit it to see what their submission guidelines are. But my “secret” resource is an online publisher catalogue I blogged about here.

Question : Do you use a contract or a non-disclosure agrrement (so they won’t use your work without pay you…I have heard horror stories from other artists…)
Answer : Yes, I always use a contract, I actually just recently wrote a post about children’s book contracts here.

Question : Do get get some pay up front?
Answer : Yes, as a rule of thumb I  ask for 50% up front when working with authors. Publishers normally have a set amount they pay in advance on your work.

Question : Usually low long it takes for all your part of the work to be done?
Answer : Before becoming a full-time mum it used to take me about 3 months from first contact to artwork / artfiles delivered to the publisher. You could easily add on another month or two if you’ve done the graphic design and are working directly with the printer. But now that I am illustrating part-time it takes me 3-6 months to complete illustrations for a children’s book.

Question : How long it takes to get the book published?
Answer : The books I’ve worked on seem to take at least a year from first contact with the publisher to when I receive the printed books in my hand. But that’s not counting the time BEFORE I am involved when the author and publisher are working together editing the manuscript, not to mention the author’s initial pen to paper with their ideas!

Question :  How long does it take to get “finally” paid?
Answer : When the work is done! In the final invoice I note at the bottom that payment is due 30 days from the date on the invoice… but it’s good to keep in mind that when working with publishers / major companies that 90 days is normal.

Question :  Do you use Photoshop?
Answer : I use Photoshop for touching up my illustrations (I’m an old-school illustrator so like to do the majority of the work by hand, and just use PS for stitching together scans and adjusting the colour for the printer.) But it’s a wonderful tool, there are many talented digital artists (like Jason MacKay!) who do things with Photoshop I can only dream about!

Question : It would be great if you had an e-book with all the details (how-tos) and sell them…to people like us.. I would love to see step-by step samples of work - drawing, color and photoshop in your e-book.
Answer : That’s a lovely idea, kind of you to think I’ve enough tips to share! At the moment I’m enjoying sharing my experiences (free!) through my blog, I keep the Tips for Illustrators page updated with a list of all my new tips :

Hope this helps! Let me know if you have any more questions, eh:)

Another good question from a children’s book illustrator…
Question : I have set up my artwork at the size of 17″ x 22″ so the artwork will be read as one whole illustration as each page is turned. I hope I am clear in explaining myself.  I am wondering if this is ok for submission when it comes time to print the book?

Answer : Yes, it’s ok to do illustrations that go across both pages (this is called a spread.) Many of my books have been made up of two-page spread illustrations (The Little Boy’s Smile.) Just make sure to consider the seam (gutter) when you’re working on your composition, you don’t want anything important getting folded in half or lost in the gutter!

I just sent this email off to a fellow greeting card artist who had a few questions… thought I’d share!

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Q: Is it acceptable to just work digitally or does the original have to be done in traditional paints (or what have you) and then scanned?

A: You can illustrate with whatever medium you want, digital or traditional, whatever is your style! (See FAQ: What Medium Should I Use?)
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Q: I read your bit about resolution size for cards.  8.5 x 11′ with an inch at least of bleed over… but what about for other illustrations? Will this be specified by the client?  Also scans should be done at 300dpi correct?

A: Yes, sizes will often be specified by the client. The letterhead size recommendation illustrations is only for ease of scanning, don’t feel limited by it if you’d prefer to work to different sizes. And 300dpi is high resolution, perfect for scanning illustrations. Often I scan at 300dpi and 125% just so that I have a little flexibility with the final size. (See also FAQ : What Size Should I Illustrate Greeting Cards?)
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Q: I’m wondering how lucrative or not  the greeting card industry is? It must also be very competitive like the rest of the business.  Is it very difficult to land a gig and is that done using an agent as well?

A: Greeting card work is seasonal, so there are certainly dry periods. The industry is a bit slow at the moment. Landing gigs isn’t difficult when it’s in a busy season, simply getting your work in front of the art director’s eyes by sending samples is the best way to make contacts… no need for an agent to do this for you.

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Q: Guess it’s not necessary to watermark?

A: It’s always a safe idea to watermark any illustrations that you send via email or post online as it helps to protect from theft.

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Question : Do publishers really look at unsolicited (illustration) samples? Or do they have interns to do it?

Answer : YES, publishers and art directors really do look at unsolicited illustration samples! When I worked as Art Director for Northern Cards, I used to receive samples and sketched ideas via email, snail mail, and even fax. Was fun seeing all the new artwork and styles cross my desk! Many artists would work on spec (not at my request!) and send finished artwork samples, but we often purchased designs from artists who sent their ideas as black and white mock-ups. I would review the artwork… at a glance I’d have a good idea whether the style, caliber, and subject matter of the work would suit our product lines. Sometimes the timing of the samples would just be off (i.e. receiving Easter submissions when we’re looking for Christmas…), but we’d keep files of the artists samples to call on when it would suit.

Larger design firms may have interns sort through digital and printed samples, or even source illustrators via the internet or source books. As long as you are actively marketing your illustrations and keeping your work landing on their desk you’ve got a better chance of being remembered for a suitable project.

Question: Is it ok to send rough sketches or designs to publishers instead of finished illustrations?

Answer: Yes! Art directors don’t mind receiving roughed out ideas, be it sketches or digital mockups. Some art directors even prefer this, as if your design is picked up, they can have you illustrate the final artwork to their greeting card specifications and/or even make any minor adjustments to the design before you start on the finals. Sending roughs* is also good for you as the illustrator, in that you avoid working on spec, spending time illustrating artwork with only a chance it will be purchased. To protect your ideas when submitting to various companies, just be sure to include a © Your Name on your designs.

*When I say “roughs,” I don’t mean scribbled on the back of a dirty napkin… try to keep them neat, descriptive, easy to make out the idea you’re trying to portray.
I’ve posted more tips on sending samples to greeting card publishers here.