Rob Dunlavey (with paper sculpture)
Web Promotion for Illustrators asks students to connect with creative profesionals through student interviews to learn what it takes to be a profesional Illustrator working in todays various markets. Julia Walters, one of AIB's own Illustration/ Fine arts undergrads reached out to one of her favorite illustrators, Rob Dunlavey.
Dunlavey's interests and accomplishments are in the fields of: Children's book illustration, Editorial illustration, Educational illustrations (for Museums), as well as advertising and book illustration! Rob was nice enough to share some of his expertise in the world of self promotion, check out what he has to share!
1. What was your first job and how did you find it? Was it paid, or did it lead to other paying jobs?
My first jobs as a free-lance illustrator were for the Christian Science Monitor whose offices are in Boston. I walked in the front door, with my portfolio and announced my desire to see an editor. I knew that they published an international newspaper that was widely respected. Of course the job was paid and it led to many more assignments over a period of years. I feel loyal and nostalgic about the Monitor. They are still publishing but I think the years have not been easy on small newspapers (that have no advertising!).
2. How much are you willing to cater your style to fit a client's demands?
I think my style is pretty set and we're always in agreement about that. I am usually very willing to dialog with the client about the content and editorial concept of the illustration.
"Riffii et Azimut" 2010 for "Les Belles HISTOIRES" Bayard Presse, Paris FR
("Les Belles HISTOIRES" - a magazine for children)
3. How do you deal with client rejection?
Sometimes you wish they would just reject the project rather than getting the shoe to fit "no matter what". It doesn't happen too much and is often the result of some breakdown along the way or a misunderstood chain of command. But, it's all business. Some things work great and others don't. You do need to assume (or agree beforehand) that there is compensation in place in the form of kill fees based on how much of the assignment you have completed. Yes, sketches, even rejected ones should be paid for.
4. Do you find any websites more "profitable" than others, by volume of sales or commissioning of work?
Not really. I'm not part of any paid portfolio sites. I've made profitable relationships through work I've posted on drawger, illustrationmundo, flickr and facebook. The volume is not great nor is it consistent.
5. How else do you promote yourself (maybe mailings, promotional items, paid advertisements, etc.)?
I post many images on-line (at my peril I think --but that's another discussion). I do several postcard mailings a year and a few other targeted mailings (I make a special calendar that people collect). I often send specific work to specific people. It's very personal. It's my attempt to keep them in the loop; just passing something in front of their eyes. Often, there is no immediate response; it's a form of tending one's garden of contacts and being proactive. I try to enter competitions. I've found purchased mailing lists to not be so useful as they once were, but I use them once or twice a year.
"Riffii et Azimut" 2010 for "Les Belles HISTOIRES" Bayard Presse, Paris FR
6. How often do you submit work to galleries or participate in call for entries?
As often as I can. 3-4/year. I wish I could do more.
7. How do you determine the sale price for your artwork? Originals vs.prints?
This is a tough call. Family members say I charge too much. Colleagues say, and my research shows, that my prices are reasonable. But this is all DIY entrepreneurship (Etsy, etc.). A gallery or rep situation would probably increase and stabilize the rates.
8. How do you retain copyright when negotiating with clients?
It's all in the contracts: For editorial: first magazine rights and various forms of "electronic" rights. The picture in book publishing is a bit murky with publishers attempting to set a minimum compensation for electronic forms of books. I retain all rights to any original art that I sell. And in general, I assume ownership of ALL rights and refuse to enter into any situation where my ownership is assumed by the client.
9. What is something you wish you had known when you first became a professional artist, or general advice for those starting?
Don't be afraid to embrace the fact that Art or Illustration is an actual career and that regardless of the practicality of your work, it's of value to people and other businesses. That's how our economic system works. The more joyous, honest and inspired you are, the more people will know about and value your work.
personal work (from sketchbook) watercolor, charcoal
A special thanks to Rob and Julia for sharing swith all of us here at AIB!
To view More information and work, check out Robs online galleries:
Website: http://www.robd.com/
Flickr : http://www.flickr.com/photos/robdunlavey
Store : http://www.etsy.com/shop/robdunlavey
And for More of Julias work, check out her online portfolio:
http://www.wix.com/juliawalters/illustration
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