Reported by Dana Arnim
Tim Gillner offered illustrators a specific look into his job as art director at Boyds Mills Press: what he looks for from an artist in terms of samples and websites, how and when an agent comes into the process, what types of contracts Boyds Mills offers, and where he looks for artists.
Tim came prepared with many “how-not-to” samples of samples. Don’t send glitter, ornaments, originals, view-masters, beribboned dummies, or other gimmicks. It doesn’t help sell your art. Do send postcards with one image, your name, website, and phone number. Send samples each quarter. If an image grabs him, he’ll go to your website—having a website or online portfolio is a must. Make it easy to navigate so viewers can find the art they’re looking for. Fewer great samples are better than many weak or undeveloped styles.
Tim works directly with illustrators as well as with art representatives and agents. They can be “the devil and the angel”. Whether it’s better to have one or not is up to the artist.
Boyds Mills Press offers two kinds of contracts: work-for-hire, and advance against royalty. Spot illustration, nonfiction and black-and-white work for poetry books is often acquired on a work-for-hire basis. Picture-book contracts are based upon payment of an advance plus royalty. Boyds Mills never remainders their books, so the royalty timeline is usually extensive.
As for artist searches, Tim relies heavily on the website http://www.picturebookartists.com. He also uses and keeps source books, such as PICTUREBOOK. Although somewhat expensive to advertise in, these source books do get into the hands of people who use them, and usually provide the artist with tear sheets, and an online presence as well.
Showing posts with label tim gillner. Show all posts
Showing posts with label tim gillner. Show all posts
Saturday, May 1, 2010
Tim Gillner: Picture Books, from Conception to Birth
Reported by Dana Arnim
Art Director Tim Gillner walked his audience through the picture-book process at Boyds Mills Press, starting with submissions. Over 500 manuscript submissions are received each month, but perhaps only ten are read, and then maybe just one of those gets to an editor.
Once the editor wants to acquire a story, and if he/she can "sell" the manuscript to the publisher, then the art director partners with the editor to find the right artist for the job. Tim usually chooses at least three possible artists, because time and work conflicts can prevent an illustrator from saying yes. Once an artist has been secured, the schedule and price are negotiated.
The working relationship between artist and art director involves allowing the illustrator to bring his or her own interpretation to the manuscript. During the approval and revision stage, Tim has often "fought" to win the publisher over on artwork that the publisher at first rejected, such as black and white illustrations for a picture book. Once the sketches are approved, then the artist creates the final art. Tim stressed that this must conform to the sketches. He also stressed the importance of leaving space for text.
The lengthy process of producing a book involves scanning the art, designing the text, creating an F&G (a folded-and-gathered mock-up), performing color checks, producing plates, and conducting sometimes exhausting press/color checks. Tim cautioned illustrators that the original colors of their art will never be perfectly reproduced. Boyds Mills Press prefers to have its books produced in the U.S.—the publisher has more control over the production timing and transport time. From manuscript acquisition to printing and binding, the picture-book process will usually take at least a year and a half, and can easily take up to three years.
Art Director Tim Gillner walked his audience through the picture-book process at Boyds Mills Press, starting with submissions. Over 500 manuscript submissions are received each month, but perhaps only ten are read, and then maybe just one of those gets to an editor.
Once the editor wants to acquire a story, and if he/she can "sell" the manuscript to the publisher, then the art director partners with the editor to find the right artist for the job. Tim usually chooses at least three possible artists, because time and work conflicts can prevent an illustrator from saying yes. Once an artist has been secured, the schedule and price are negotiated.
The working relationship between artist and art director involves allowing the illustrator to bring his or her own interpretation to the manuscript. During the approval and revision stage, Tim has often "fought" to win the publisher over on artwork that the publisher at first rejected, such as black and white illustrations for a picture book. Once the sketches are approved, then the artist creates the final art. Tim stressed that this must conform to the sketches. He also stressed the importance of leaving space for text.
The lengthy process of producing a book involves scanning the art, designing the text, creating an F&G (a folded-and-gathered mock-up), performing color checks, producing plates, and conducting sometimes exhausting press/color checks. Tim cautioned illustrators that the original colors of their art will never be perfectly reproduced. Boyds Mills Press prefers to have its books produced in the U.S.—the publisher has more control over the production timing and transport time. From manuscript acquisition to printing and binding, the picture-book process will usually take at least a year and a half, and can easily take up to three years.
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