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Inside the Business of Illustration

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This guide to the ins and outs of today's dynamic illustration business tells budding illustrators everything that their teacher didn't know or their art director didn't tell them. Using an entertaining, running narrative format to look at key concerns every illustrator must face today, this book covers finding one's unique style and establishing a balance between art and This guide to the ins and outs of today's dynamic illustration business tells budding illustrators everything that their teacher didn't know or their art director didn't tell them. Using an entertaining, running narrative format to look at key concerns every illustrator must face today, this book covers finding one's unique style and establishing a balance between art and commerce; tackling issues of authorship and promotion; and more. In-depth perspectives are offered by illustrators, art directors, and art buyers from various industries and professional levels on such issues as quality, price negotiation, and illustrator-client relationships. • Includes an afterword by Milton Glaser, well-known designer/illustrator • From the authors of The Education of an Illustrator (1-58115-075-x)


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This guide to the ins and outs of today's dynamic illustration business tells budding illustrators everything that their teacher didn't know or their art director didn't tell them. Using an entertaining, running narrative format to look at key concerns every illustrator must face today, this book covers finding one's unique style and establishing a balance between art and This guide to the ins and outs of today's dynamic illustration business tells budding illustrators everything that their teacher didn't know or their art director didn't tell them. Using an entertaining, running narrative format to look at key concerns every illustrator must face today, this book covers finding one's unique style and establishing a balance between art and commerce; tackling issues of authorship and promotion; and more. In-depth perspectives are offered by illustrators, art directors, and art buyers from various industries and professional levels on such issues as quality, price negotiation, and illustrator-client relationships. • Includes an afterword by Milton Glaser, well-known designer/illustrator • From the authors of The Education of an Illustrator (1-58115-075-x)

30 review for Inside the Business of Illustration

  1. 5 out of 5

    Litos

    Tras una larga diatriba sobre la historia de la ilustración norteamericana en el siglo XX, se suceden artículos de cuatro o cinco páginas sobre temas poco relacionados con el título como el estilo o la diferencia entre arte e ilustración, seguidos de conversaciones entre los autores, que se dedican a demostrar lo fantásticos que uno y otro son. Y luego tenemos "entrevistas" con ilustradores y directores de arte con preguntas sonrojantes (¿por qué te dedicas a la ilustración? ¿qué es lo mejor y l Tras una larga diatriba sobre la historia de la ilustración norteamericana en el siglo XX, se suceden artículos de cuatro o cinco páginas sobre temas poco relacionados con el título como el estilo o la diferencia entre arte e ilustración, seguidos de conversaciones entre los autores, que se dedican a demostrar lo fantásticos que uno y otro son. Y luego tenemos "entrevistas" con ilustradores y directores de arte con preguntas sonrojantes (¿por qué te dedicas a la ilustración? ¿qué es lo mejor y lo peor de ser director de arte?) que parecen escritas por un becario en la menos informada de las publicaciones generalistas. Todo lo que puedes aprender de este libro lo puedes sacar de cuatro artículos en webs especializadas como ArtPACT, y guardarte el dinero para comer, porque el negocio de la ilustración está muy malito, que es la conclusión más sólida del libro.

  2. 4 out of 5

    Nathalia

    The back and forth narration between Heller and Arisman was unnecessary, repetitive and at times very arrogant. Must the reader be constantly reminded that one of the men is an art director thirty times by the end of the introduction? The message both men tried to portray within the introduction could have tied nicely within the first chapter instead of taking such a large chunk from the novel. An introduction is an introduction, used to introduce the reader to the book without getting into too The back and forth narration between Heller and Arisman was unnecessary, repetitive and at times very arrogant. Must the reader be constantly reminded that one of the men is an art director thirty times by the end of the introduction? The message both men tried to portray within the introduction could have tied nicely within the first chapter instead of taking such a large chunk from the novel. An introduction is an introduction, used to introduce the reader to the book without getting into too many details. Perhaps someone should have provided both men with a dictionary before allowing this to publish. Once you get past the terrible conversation between both men, the information describing the business portion of Illustration is certainly helpful. If you're short on time, I highly recommend the "Do's and Don'ts" section located at the end of each chapter. However, please keep in mind that the writing itself is clipped, fragmented in many areas, infested with typos and full of formatting issues (Kindle edition). If you can get past all the errors, this would make for a great guide for Illustrators who need a push in the right direction.

  3. 4 out of 5

    Michael Grills

    I needed this book when I was in school. All those conversations regarding style, trends, business, within art and illustration are succinctly covered by the joint efforts of one Illustrator and one Art Director. Much of the discussion covers the decline in the usage of illustration in modern print and how those of us who just “have to draw” are supposed to cope. What really impressed me though is that they got into some mindsets that might be required for the modern illustrator. Understanding th I needed this book when I was in school. All those conversations regarding style, trends, business, within art and illustration are succinctly covered by the joint efforts of one Illustrator and one Art Director. Much of the discussion covers the decline in the usage of illustration in modern print and how those of us who just “have to draw” are supposed to cope. What really impressed me though is that they got into some mindsets that might be required for the modern illustrator. Understanding that success may no longer be defined by how much you get paid or whether you even get paid for illustrating. If your paying attention, especially any of you older illustrators, you will notice a trend in the interviews. It seems that many illustrators seem to come into realization of their career when certain epiphanies occur. Very similar to myself and other people I know.

  4. 5 out of 5

    Mandy

    So far I've learned: Style is not a certain medium. Your style as an artist will transcend all mediums. Style comes from your worldview...how you see the world will come out in your art, and that is what will make your art unique. It's okay to have artists that inspire you. It's even okay for your work to start to look like theirs. A good artist will work through that and emerge on the other side with "their take" on that type of art. Your style (your voice) will come and out and you'll make it yo So far I've learned: Style is not a certain medium. Your style as an artist will transcend all mediums. Style comes from your worldview...how you see the world will come out in your art, and that is what will make your art unique. It's okay to have artists that inspire you. It's even okay for your work to start to look like theirs. A good artist will work through that and emerge on the other side with "their take" on that type of art. Your style (your voice) will come and out and you'll make it your own. Don't try and create a portfolio. Just create *a lot* and let a portfolio emerge from that. Forcing a portfolio often squelches your style.

  5. 4 out of 5

    Tatiana Dengo

    As someone who majored in Illustration, I picked this book as a complement to my education and because Marshall Arisman has often been remarked upon as a living legend full of wisdom. If I can’t attend his school, reading his book was the least I could do. The writing feels like you’re having a very sincere and approachable conversation with him, where he speaks in clear terms and not in the cryptic, grandiloquent and unhelpful advice that is so common in art schools. I had the opportunity to mee As someone who majored in Illustration, I picked this book as a complement to my education and because Marshall Arisman has often been remarked upon as a living legend full of wisdom. If I can’t attend his school, reading his book was the least I could do. The writing feels like you’re having a very sincere and approachable conversation with him, where he speaks in clear terms and not in the cryptic, grandiloquent and unhelpful advice that is so common in art schools. I had the opportunity to meet him once and the writing comes off as genuine as if he were standing right there talking to you. The advice is very broad and, as the title states, is very much about the business of illustration, rather than about the art side of things. It includes tons of advice and I would highly recommend it to any budding illustrator who feels a little lost. The last part of the book includes tons of interviews of illustrators, agents, and art directors.

  6. 5 out of 5

    Estefy Debbane

    This book is a broad overview of the factors that impact the world of illustration and, therefore, illustrators. It starts with a brief overview of the history of illustration and then goes into talking about how the landscape has changed for new illustrators. All good things to consider as you venture into becoming an illustrator, but it is definitely not a how-to read. This book will not give you a road map of how to become an illustrator nor how to navigate the business of illustration (altho This book is a broad overview of the factors that impact the world of illustration and, therefore, illustrators. It starts with a brief overview of the history of illustration and then goes into talking about how the landscape has changed for new illustrators. All good things to consider as you venture into becoming an illustrator, but it is definitely not a how-to read. This book will not give you a road map of how to become an illustrator nor how to navigate the business of illustration (although it does point out a few things that you might want to further look into).

  7. 5 out of 5

    UndeadArtist

    2005 quality but still relevant on inflated egotisn

  8. 4 out of 5

    Jonathan

  9. 5 out of 5

    Kate Merriman

  10. 5 out of 5

    Tami Traylor

  11. 4 out of 5

    Sarah

  12. 5 out of 5

    Nicoletta

  13. 5 out of 5

    Christopher

  14. 4 out of 5

    Sarah

  15. 5 out of 5

    Ula

  16. 4 out of 5

    Jamie Leo

  17. 5 out of 5

    Nancy Zonneveld

  18. 4 out of 5

    Hannah

  19. 5 out of 5

    Erica

  20. 4 out of 5

    Meridth Gimbel

  21. 5 out of 5

    Yan Nie

  22. 4 out of 5

    Tina Poe

  23. 5 out of 5

    Frank Reynoso

  24. 5 out of 5

    Erica

  25. 4 out of 5

    Jenn Ross

  26. 4 out of 5

    Ashley

  27. 5 out of 5

    Joel Priddy

  28. 4 out of 5

    Dalton

  29. 4 out of 5

    Reyna

  30. 4 out of 5

    Paula Roullier

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