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Do You Do "Free Commissions" Client Page 2
CLIENTS: Page 1 - Page 2 - Page 3
ARTISTS: Page 1 - Page 2 - Page 3 - Page 4
5. A finished character reference is better than an incomplete one with a lot of missing important features, markings, changes, notes and unseen details.
You always want to make sure that you have a finished reference sheet of your character. If you are hiring an artist to draw you a reference sheet, make sure that you have all details of that character, including photos from real references or past commissions, examples from various sources and small typed description about the character.
If you don't have a digital or physical reference sheet, but you do have a fursuit, take pictures. This fursuit has the basic poses ( back, front and side ). The markings are shown clearly as well as the colors in natural lighting. If you wish to use this method, make sure that your pictures are clear and that what you want shown is easily seen or noted. Markings and accessories included.
If you don't have money for a reference sheet, but you can draw, you can make your own reference sheet. Make sure that the character is easy to understand and that everything is there: markings, color pallete, paws, piercings, etc. You can also add the species and character name as well. If you have any important information about the character that they MUST have in the image, make sure to write it down clearly.
Some clients like to use virtual avatars they use from their online world. These can be difficult as some avatars are not easy to read or understand, or you only have one image of the character in one pose. If your character has a tail, wings, piercings, markings, etc, make sure to show them with clear close ups and multiple angles. Stick with the basic angels ( front, back and side ). Don't just send one image and say “thats it” because the artist will only draw what they see. So if your character has wings or a tail but is not shown in the image, the blame is on you because you failed to tell and show the artist.
6. This is your choice. A tip is a personal gesture that you are giving to the artist and offering financial support to their business and career, not part of a current or future business transaction.
A standard tip amount, if you wish to leave one, is roughly 10% of the total amount for the commission. However, you as the paying client, can alter that percentage to whatever you feel is the generous amount. Just a small $5 tip to an artist after a job well done will make any artist happy. You do not want to use your generous donation as an “additional fee” for more corrections or add ons to your commission. It is like tipping a waitress and then suddenly you tell the waitress that you are ordering more food and you want to use that tip money to cover the cost.
7. The artist is responsible for constant contact with the client during a business transaction. However, if you don't hear from the artist, contact them for updates on your commission. If you have a due date in mind for completion, tell the artist during the description process of your commission.
Never bug the artists every other day for updates. Remember that you are not the only client the artist is dealing with. The artist has other jobs they need to do first before they get to your commission. Always check their queue to see where you are on their to-do list. If they don't have one and you haven't heard from the artist in a while, contact them politely to see what the progress of your commission is in. Do this after two weeks from hiring the artist.
8. During the WIP stage, this is where you see the general idea for your commission roughly sketched down and your chance to change anything that suits the idea you had in mind. This is your responsibility.
Don't put off any details from your commission that you want to see in the final product. If you see something that needs to be changed, point it out immediately. If you need more time to think about what needs to be changed, tell the artist that you will get back to them with what needs to be changed or added. Don't rush this step.
artwork © Alex Cockburn ( Ookami Kemono ). All Rights Reserved.
ARTISTS: Page 1 - Page 2 - Page 3 - Page 4
5. A finished character reference is better than an incomplete one with a lot of missing important features, markings, changes, notes and unseen details.
You always want to make sure that you have a finished reference sheet of your character. If you are hiring an artist to draw you a reference sheet, make sure that you have all details of that character, including photos from real references or past commissions, examples from various sources and small typed description about the character.
If you don't have a digital or physical reference sheet, but you do have a fursuit, take pictures. This fursuit has the basic poses ( back, front and side ). The markings are shown clearly as well as the colors in natural lighting. If you wish to use this method, make sure that your pictures are clear and that what you want shown is easily seen or noted. Markings and accessories included.
If you don't have money for a reference sheet, but you can draw, you can make your own reference sheet. Make sure that the character is easy to understand and that everything is there: markings, color pallete, paws, piercings, etc. You can also add the species and character name as well. If you have any important information about the character that they MUST have in the image, make sure to write it down clearly.
Some clients like to use virtual avatars they use from their online world. These can be difficult as some avatars are not easy to read or understand, or you only have one image of the character in one pose. If your character has a tail, wings, piercings, markings, etc, make sure to show them with clear close ups and multiple angles. Stick with the basic angels ( front, back and side ). Don't just send one image and say “thats it” because the artist will only draw what they see. So if your character has wings or a tail but is not shown in the image, the blame is on you because you failed to tell and show the artist.
6. This is your choice. A tip is a personal gesture that you are giving to the artist and offering financial support to their business and career, not part of a current or future business transaction.
A standard tip amount, if you wish to leave one, is roughly 10% of the total amount for the commission. However, you as the paying client, can alter that percentage to whatever you feel is the generous amount. Just a small $5 tip to an artist after a job well done will make any artist happy. You do not want to use your generous donation as an “additional fee” for more corrections or add ons to your commission. It is like tipping a waitress and then suddenly you tell the waitress that you are ordering more food and you want to use that tip money to cover the cost.
7. The artist is responsible for constant contact with the client during a business transaction. However, if you don't hear from the artist, contact them for updates on your commission. If you have a due date in mind for completion, tell the artist during the description process of your commission.
Never bug the artists every other day for updates. Remember that you are not the only client the artist is dealing with. The artist has other jobs they need to do first before they get to your commission. Always check their queue to see where you are on their to-do list. If they don't have one and you haven't heard from the artist in a while, contact them politely to see what the progress of your commission is in. Do this after two weeks from hiring the artist.
8. During the WIP stage, this is where you see the general idea for your commission roughly sketched down and your chance to change anything that suits the idea you had in mind. This is your responsibility.
Don't put off any details from your commission that you want to see in the final product. If you see something that needs to be changed, point it out immediately. If you need more time to think about what needs to be changed, tell the artist that you will get back to them with what needs to be changed or added. Don't rush this step.
artwork © Alex Cockburn ( Ookami Kemono ). All Rights Reserved.
Category All / All
Species Unspecified / Any
Size 842 x 1089px
File Size 502.9 kB
Listed in Folders
And here's where the problems actually begin
5. How full is a full reference sheet and what can I do if I don't have it? (Had this problem on both sides)
6. Should we be covering the tip now? As an artist, i don't know how to feel about getting tipped before starting and as a commissioner, how easy they were to work with factors into my decision.
7. Very important! Ideally, the two should agree on when to check up, but I know that is not always possible (especially if there's been trouble with #5 or #6 and/or the artist works)
8. This is probably the most important one. The commissioner needs to understand that it is a work in progress (not complain about why is it still "black and white" for instance). The artist needs to make it clear what it is he needs to know by showing the Work in Progress and/or what the next step is / why he can't go back on it (did he really forget the tail, or is he just showing me before he adds it because he's not sure if the face is right?)
5. How full is a full reference sheet and what can I do if I don't have it? (Had this problem on both sides)
6. Should we be covering the tip now? As an artist, i don't know how to feel about getting tipped before starting and as a commissioner, how easy they were to work with factors into my decision.
7. Very important! Ideally, the two should agree on when to check up, but I know that is not always possible (especially if there's been trouble with #5 or #6 and/or the artist works)
8. This is probably the most important one. The commissioner needs to understand that it is a work in progress (not complain about why is it still "black and white" for instance). The artist needs to make it clear what it is he needs to know by showing the Work in Progress and/or what the next step is / why he can't go back on it (did he really forget the tail, or is he just showing me before he adds it because he's not sure if the face is right?)
5. Front view, Back view, Side view, Head shot, color palette, name and species. If needed, fur pelt of markings if they are complex. These are the basic information about the character visually. Anything else after this, such as likes and dislikes, backstory, etc is extra.
6. Tips are mostly dealt with at the END of the commission, but returning clients often send tips with the payment of the commission. In my Invoices, I marked the tips option open so they can send tip along with the payment. This is optional and I don't expect any tips on top of the payment, but if the client wishes to do that, I wont complain.
7. Its ideal that the client should check up on the commission two or three weeks after payment has been sent to the artist. This gives the artist enough time to work on other commissions in their queue before your commission comes up. If the artist has an online page where their queue is viewable to the public, always go there to see if there are any updates. If not, contact the artist.
8. Whenever I show the WIP sketch, I always tell the client to look at the sketch and get back to me on any changes before I go into the ink stage.
6. Tips are mostly dealt with at the END of the commission, but returning clients often send tips with the payment of the commission. In my Invoices, I marked the tips option open so they can send tip along with the payment. This is optional and I don't expect any tips on top of the payment, but if the client wishes to do that, I wont complain.
7. Its ideal that the client should check up on the commission two or three weeks after payment has been sent to the artist. This gives the artist enough time to work on other commissions in their queue before your commission comes up. If the artist has an online page where their queue is viewable to the public, always go there to see if there are any updates. If not, contact the artist.
8. Whenever I show the WIP sketch, I always tell the client to look at the sketch and get back to me on any changes before I go into the ink stage.
oh wow didn't think you'd actually respond. Though I was referring more from the artist perspective: commissioner comes without a ref sheet, then what? (yes, that's where TOS come in handy, but I hadn't read that page yet)
7. To quote Hidden Figures, "I like those numbers"
7. To quote Hidden Figures, "I like those numbers"
For when a commission is requesting a piece without a ref sheet, there's a few different options. Some artists flat out refuse, of course. I've seen some where the price may be increased due to the risk of needing to rework the piece multiple times. You can suggest temporary ref sheets such as if it's a simple cat character, using a character maker game like on Doll Divine to make a mark up and clearly explain any differences. Or even just a quick coloration of a coloring sheet that's messy can be helpful.
So there's a few different options and it can vary from artist to artist or even case by case basis. There is a risk, though, of getting a complicated character without a good ref requiring multiple reworks. You can adjust prices or limit the number of times you are willing to rework a WIP (while clearly stating this ahead of time, of course).
The main thing is to consider your comfort level with working with the ref sheet they have (if any). Remember, you don't have to take a commission just because someone asks you for one. And, if you do take it, to communicate with the commissioner so that expectations are as clear as possible on it.
So there's a few different options and it can vary from artist to artist or even case by case basis. There is a risk, though, of getting a complicated character without a good ref requiring multiple reworks. You can adjust prices or limit the number of times you are willing to rework a WIP (while clearly stating this ahead of time, of course).
The main thing is to consider your comfort level with working with the ref sheet they have (if any). Remember, you don't have to take a commission just because someone asks you for one. And, if you do take it, to communicate with the commissioner so that expectations are as clear as possible on it.
"For when a commission is requesting a piece without a ref sheet, there's a few different options. Some artists flat out refuse, of course. I've seen some where the price may be increased due to the risk of needing to rework the piece multiple times."
In my TOS, I state that after a few major revisions to the sketch ( maybe after 3 back and forth changes ), I start to charge a bit more for the image. This is because each revision takes time and I'm working more on the image than what I was paid to do. More work = more time on the image = more pay ( like over-time pay ). When this happens, I stop revisions and tell the client "If you wish to continue adding more major changes to the illustration, I will have to charge you more for the commission."
Funny enough, when a client wants to commission me to draw their character in an image and they said that they don't have a visual character reference sheet, I offer them a small discount if they buy a character reference sheet commission from me on top of the commission idea they had in mind. I give them a discount because: its more money than what they plan on spending, having a character ref will help them in the LONG run, and its just me being generous. Half the time, they accept and they walk away with both the commission they wanted AND a fleshed out reference sheet ( with updated changes that they never thought about until they SAW the character ).
In my TOS, I state that after a few major revisions to the sketch ( maybe after 3 back and forth changes ), I start to charge a bit more for the image. This is because each revision takes time and I'm working more on the image than what I was paid to do. More work = more time on the image = more pay ( like over-time pay ). When this happens, I stop revisions and tell the client "If you wish to continue adding more major changes to the illustration, I will have to charge you more for the commission."
Funny enough, when a client wants to commission me to draw their character in an image and they said that they don't have a visual character reference sheet, I offer them a small discount if they buy a character reference sheet commission from me on top of the commission idea they had in mind. I give them a discount because: its more money than what they plan on spending, having a character ref will help them in the LONG run, and its just me being generous. Half the time, they accept and they walk away with both the commission they wanted AND a fleshed out reference sheet ( with updated changes that they never thought about until they SAW the character ).
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