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Hello all!

SO many things to say, but before I start rambling. I stumbled on a great GREAT idea to stop working for free/lowballing and help artists value price their work. A friend of mine is an ecologist and participated in a website where ecologists can post anonymously what jobs they took and what they were paid.

This would be an amazing tool for the next generation of guild members. We could have something like that on the website, a place to post type of job, pay and level of experience that is visible to guild members.

Arming younger artist with what pricing could help them realise their value and keep them from the work for exposure pit.

What do you think? I would certainly renew my membership for such a service. 


On Fri, May 2, 2014 at 2:09 PM, Bruce Bartrug <[log in to unmask]> wrote:
Love those initials.  Netherlands, right?

b


On Fri, May 2, 2014 at 2:04 PM, Kathleen Garness <[log in to unmask]> wrote:
Right - which was why I was happy to be working with the Field Museum on the Common Plant Families of the Chicago Region, even as a volunteer. I had the time, the interest, and some small illustration expertise, and it was for me one of those situations where the philosopher Frederick Buechner says about our calling: "the place where your deep gladness and the world's deep hunger meet.' 

If I hadn't initiated it, it wouldn't have happened. Turns out it was a pretty good use of my time because the pages are being used region-wide to help train the next generation of conservation leaders and advocates.

But I think we have to be VERY clear with people when they mention the 'exposure' card that the only one getting good exposure is them!

KMG

On May 2, 2014, at 12:31 PM, Barry K. MacKay wrote:

One possible test is whether or not the work involved would or would not be illustrated in the absence of the freebie, but even then, I feel the freebie is justified ONLY if you feel strongly (and I emphasize “strongly”) in the project.  I recently illustrated a book on an issue I have devoted  years of effort to, because I wanted it to look good.   Mind you, even then I stipulated that I retain the originals, most of which were saleable so I did make a modest profit; also, that the interior illustrations be in colour, even though they were reproduced in black and white, because a colour drawing takes no longer to do, and is far more likely to sell. 

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--
Bruce Bartrug
Nobleboro, Maine, USA
[log in to unmask]
www.brucebartrug.com

The world is a dangerous place, not because of those who do evil, but because of those who look on and do nothing.  - Albert Einstein

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--
Cat Wilson
Design . Illustration . Art
Astoria, NY
catthewilson.com

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