How to become an Illustrator for a Publishing CompanyBecome an illustrator for a publisher?
F - What is the best way to contact a publishing house? a- Nowadays, publishing houses are even less available than at the beginning of my career. You want to see the work of the illustrator they may use, but they are very preoccupied and would be constantly bombed by the illustrator and the writer if they had no way to protect themselves.
It is therefore difficult to achieve them and it is important to take this fact into account when approaching them. F - If you simply submit something to a publishers or ask them to look at your website, that means you won't see their response or get it?
a--that can be difficult, but I would suggest that before you contact a publisher with your work, it is best to get immediate feed-back from someone you rely on. This will help you determine what you are sending or developing in your colostrum so that you are comfortable with what you are sending in.
As I know, the Association of Illustrators offers a range of operations for which you have to repay, where someone with expertise will do your work with you and advise you. F - Is it better to contact a publishing house with a series of artwork or to create a brief textbook and an illustration?
There are some good at typing and illustrated, but I think they are seldom - even if you may be! So, if you really want to type and illustrated, but if not, stick to the illustrated page. F - Is it good to submit artwork, say some images, for a historical one?
a--It may be a way to show a publishers your capacity to read a text if you have nothing to show. Publishers can get an impression of how you work by seeing a copy of some ready-made patterns and some coarse sketches, but do not ship your original as it may be misplaced or corrupted.
Alternatively, should you start by sending us a CD and rehearsals and wait until you are accepted? Please read the questions and answers in the Publish a book section, as the research you need to do is the same. If you are sure after your research that your work could receive a positive feedback from a publishing house you have ID'd, call their general number and ask the hostess if it is okay to give you the name of their arts editor/director - they all have different title - and ask if it would be okay to submit an example of a work of work.
A better approximation is often to make a great picture packet with some specimens of your best and most pertinent work and a short cover note to the individual whose name you have been given. Sending at least some hard copies along with a floppy/website file can be a good option, as it can give the publisher an immediate impact rather than having to bother uploading your floppy if that's all you sent.
When the editor is really not interested, go on; if he is interested, he can accept to receive random e-mail from you or he wants to see more of your work. They will probably keep your specimens on record if they like your work so they can get in touch with you if something pertinent comes up.
But this line is also one with which publishing houses dissociate themselves. Sometimes a businessman has a career for which he feels you are just right, but more often it's a holding fixture when you start. All can be worth it, children's publishing houses need illustrations, but they also need to filter: when you're done with it, it can be really worth it and hopefully you can build a productive working relation.
But it does take a while, and publishing houses usually move quite slow. When you can get any comment from a editor, take on Board what they say. F - What about the work for cover art, do you contact the same publishing houses as for illustrated work? Usually, A - Cover booklets are a different kind of markets from illustrated booklets.
It tends to be a book for older kids without interior illustration, or volumes of poems in which the illustration comes from someone else, possibly in two-color. Publishers are divided into different areas, such as children's picture and youth literature, so it is best to research which publishers do what.
F - If you have many different genres, is it a good practice to submit all the illustrations to one publishing house and say: "I can do this and that"? Again, I think you need to be more focused and submit the appropriate sample to the customer.
This is a segregated childrens book store that is part of the gifts business. While I don't have much experiance with this planet, I've been to some present shows where you can see some of the map editors and operatives. Many small map firms out there often don't charge their illustrator much, sometimes just a licence fee - see Payment - so be careful, because it can be a pitfall!
The greeting cards and other areas of publishing are changing, I believe. F - I have just finished reading your page'Approaching publishers'. Since I am looking for a careers in the arts and especially illustrations, I found your site very useful.
This gave me an idea of how a publishing house responds to the contact. Recently I e-mailed a publishers with several small drawings to see if my work would be of benefit to their work. I sent two almost finished images and one finished image. We are glad that you found my FAQ' s useful.
I' m assuming this is a serious publishing house, right? Publishing houses do not necessarily react to artists' contributions, but rather consider their work in the files when they consider it appropriate. They do not demand (need or want) to receive documents, but rather photocopies. So if you have sent a copy, don't necessarily wait for a response (you could just make sure they have your originals), but if they have your origins, you might want to call the company and tell the exchange if they can be sent back by asking them to post.
I' ve got a Master's in Illustration and would like to work as an illustrator for major publishing houses, but I don't know, would they do it? Concerning me in Iran and the publishing houses in other countries, it may be that I work with the conventional postal service (post) and send originals.
You can see my artwork and I can give you my opinion. I' m looking for more revenue by working for publishing. A1 - If editors all over the globe like your work and think that your publishing styles are right, there is no need why they would not hire you in Iran on a free-lance base to do illustrations for them.
Please do NOT return your work to me or to any publisher, but keep it safely in your recording room. I would suggest creating a website for your work (if you haven't already done so), scan your pictures, then you can begin to market yourself at publishing houses. When you want to mail pictures, print out postcards and enclose them with a cover note.
On my other FAQ pages there is a great deal of information on how to contact publishing houses. Unfortunately I cannot give you any tips for your work, but good fortune with your carreer and I trust that this little piece of good advise I can give you will be of use. F - I have looked at your site's publication FAQ.
You' ve heared so many queries about filing the tale with the figures, and usually the council of most is not to file them together. I' m not a great illustrator, but here's the thing, the illustration is as much the history as the words. Words are in the images and words in the artwork.
So I went to the Society of Childrens Writers and Illustrators and they wouldn't even look at the paintings. You may not believe in it, but I woke up two consecutive days, both of those ledgers lying side by side, with all the illustration.
I was frustrated with the publisher's response at the meeting that I simply put the book away. I' m a really powerful one, but I just had the feeling that I should get this one out there and have no clue what to do next. But if the news you get is to send in the text yourself, it doesn't stop you from showing your graphic design at a later date when a publishers like your text.
Editors are used to judging text in a storybook, so that would be my suggestion. F - I have been reading your great FAQs about how commercial publishing companies work and found them very useful. I' d like to make a successful commercial artist's job, but I would like to know more about how to contact publishing houses and agents.
âThis might be a stupid query, but I was just wondering what would be the best way to email them the specimens? a- I would only be sending 72dbps of your work, especially since they asked for it, then there should be no issue with them being able to open it.