Collecting Original Character Art

Kris · **Joined:** Sun May 16, 2010 9:28 am **Posts:** 4

Table of Contents

I. Introduction

II. Preparation

III. Commission Process

IV. Odds and Ends

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Introduction

For over five years, I’ve been collecting art of my original character, Bayani. While it has definitely not been an easy hobby to manage, it has been a very rewarding one. I’ve had the good fortune to develop strong relationships with a lot of creative people. It’s also given me opportunities to sharpen a few business skills and learn more about art and the creative process. If you decide to pursue art collecting as a hobby, I hope it will be rewarding for you, too.

Ultimately, collecting original character art is an intuitive process but can become difficult to manage without some planning. This guide is based on personal experience accumulated through approximately 170 successful commissions with over 100 artists. (The scary thing is, my gallery isn’t even the largest one around these parts.) The information provided in this write-up is a general overview on how to get started, along with some tips on how to set the stage for a smooth and easy transaction for both you and the artists you hire.

Kris · **Joined:** Sun May 16, 2010 9:28 am **Posts:** 4

Preparation

References
City of Heroes was about a year old when I first met David Nakayama. David was working for Top Cow at the time on the second volume of the City of Heroes comic and he had been making a name for himself drawing sketches of CoH players’ characters with colored markers. As skilled and talented an artist as David is, he still experienced difficulties with drawing the original characters accurately because often he had poor references and in some cases, no references at all, to work with. After finishing some of the drawings, he could tell the recipient was bummed because the character’s appearance looked wrong, and David was bummed because the recipient was bummed.

A little extra effort on your part can really make a huge difference and help you avoid disappointment. There are two types of visual references you can provide to an artist: screenshots or model sheets. I’ll get into the details about each type a little later. Regardless of whether you choose to provide screenshots or a model sheet, there are 5-6 vital angles that you should have: 3 of the character’s full body (front, side and back) and 2-3 close-ups of the character’s head and shoulders. These pictures should be taken from different angles in order to capture all the costume details. (If there are no noteworthy details on the back of the head, stick to front and side shots.) If your character has any exceptionally complicated details or patterns anywhere on the costume (many armored characters, for instance), consider including close-up shots of those areas.

Easy and cheap, screenshots are the easiest option and require very little investment. With a click of the Print Screen button, everything on your City of Heroes client is captured in a picture and sent to your game folder. Here are a couple of tips to get the most out of your screenshots:

Irfanview

GIMP

Comments: Good close-up shots of the head to show the mask and goggles better, along with a contrasting background that causes all the details on the pink coat, the black pants, and grey circuitry to stand out more clearly.

Model Sheets are the next step up from screenshots. They’re character templates and industry standards in animation and illustration. The purpose of a model sheet is to maintain the continuity of the character’s appearance across a number of artists. If you’re planning on collecting art as a regular hobby, having a model sheet done up will pay off quickly. The collectors who have well-organized model sheets have easier times getting what they want faster and with less fuss. There are two big reasons for this:

Comments: Planet Girl’s Model Sheet. Note the original costume parts: chest logo, the cape style, and the belt buckle.

Budgeting
Good budgeting will keep you out of the red. Every collector will inevitably face the temptation/impulse to buy art “only a few more dollars” beyond his or her initial budget, or every time an artist announces “Open For Commissions” on their dA journal. (It happens to me weekly.) You have to resist it. I’ve seen many collectors over-extend their finances and suffer a lot of hardship after the economy went unexpectedly south. To make matters worse, they could not pay their outstanding commissions when payment was due. So, before you start sending out inquiries to artists, I highly advise that you settle down and decide exactly how much money you have to spend on art and put it aside before you commit to anything. Remember: whether your budget is $25 or $25,000, there’s always an artist out there ready to draw an enjoyable illustration of your character if you search patiently and diligently.

Pricing
Everyone I’ve met interested in collecting art has asked me how much commissions cost in general, and it’s a difficult question to answer. There are many different reasons why artists will price their work a particular way. In my opinion, commission prices at comic book/anime conventions are an effective way to create a baseline in determining your budget and willingness to agree to an artist’s going rates.

Now, for those unfamiliar with conventions, many comic book/anime conventions feature a place called Artists’ Alley, where creators set up at assigned tables to sell their books, prints, and commissions. Overall, it can be a competitive affair. In most cases, artists have to submit applications for approval by the convention organizers before they actually get a spot on the event floor. There usually is not enough space to house all the applicants and so, the bigger the show the tougher the competition can get. In general, artists who pony up the application and money for a table at a convention are professionals who have a certain level of confidence and understanding in their skills. After all, at conventions, their work is on display right next to the work of their peers. There is also added pressure between the short turnaround times for commissions (anywhere between several hours to a day) and a regular stream of convention attendees watching the artists draw on the spot. Despite a challenging scenario, the art at conventions are priced similarly (across equivalent mediums and levels of detail) and are for the most part, of a consistent quality.

A penciled headshot at a typical convention starts at the $15-$30 range while single character, full-figure pencil commissions start closer to $30-$50. If you want the piece inked, you’re looking at an additional $20-25. The seasoned pros will charge more for their commissions, roughly closer to $50-60 for a headshot and $75-$100 for full figure pencil commissions, with $30-50 extra for inks. If the artist is hot off a big project (such as like a company-wide crossover event or a popular series), expect his/her prices to push beyond the $100 mark. I should mention that the larger the convention is, the higher the prices will run because the conventions like San Diego or New York Comic Con attract the bigger names in the industry.

Comments: Two pieces of art collected from comic book conventions priced within my benchmarks. Headshot by Steve McNiven. Full Figure Sketch by Sean Chen.

So there is my rough benchmark. Obviously, your benchmark may vary given personal tastes and such, but given the plethora of conventions across the United States, I feel it’s pretty reasonable to assume that you can get a static-posed full-figure sketch of your character drawn by a professional artist at $40. At that price point, you can determine how much more you’re willing to pay for extras like backgrounds or color. You can (and should) also determine how much less you’re willing pay to accommodate matters such as long waits or a “no revisions” policies.

Know What You Want
“Do you go to Burger King to order a slice of pizza?”

Before you start searching for artists in earnest, take a moment to think about what you want exactly. What media do you like? Pencils? Markers? What styles do you want? Manga? American comic books? European comics? While there are a lot of artists out there who have the versatility to render images in a variety of styles, most of them favor and specialize in a particular style. Sometimes, choosing the right style to complement your character can make a significant impact in the overall quality of the piece. Now, some artists draw really attractive women while others may have a penchant for drawing monsters. There are artists like Skottie Young who have styles that cater well to whimsical illustrations and there are artists like Gene Colan who are known for being able to really capture dark, gritty moods. Once you have a clearer idea of what you like and want for your character(s), searching for artists becomes less time consuming. In addition, it’s less likely that you’ll end up with a piece that you’re ambivalent about.

“When you’re at a restaurant, do you tell the waitress what you want to order or do you ask her to just pick something for you instead?”

I’m going to assume you tell the waitress what you want to order, or in the very least ask her for suggestions before making a decision. This should not be any different when it comes to commissioning art. Often times however, I see collectors being very reluctant to give any sort of direction regarding commissions. One reason for this is that they have this impression that the creative process is mysterious and volatile, and should not be trifled with lest one wishes to ruin the artist’s spirit. That’s just bull. Every person I’ve known who has made a career out of creating works of art has told and demonstrated to me that art is skill-driven, just like any other craft. So do not be too intimidated to voice what you want. After all, you, as the creator, are the expert on your character. The artist does not have the time to learn and understand your character as intimately as you do. In a vacuum, artists have to make assumptions based on cursory glances over your references.

The good news is that artists who take commissions are, in general, willing to accommodate reasonable requests. They *want* to create a piece of art that you are completely satisfied with, ideally on the first try. Requesting what you want does not have to be in depth and complicated (in fact, it should not take more than 1-2 sentences). It can be as simple as an expression (please draw my character looking fierce) or a short description of the action (please draw my character shooting her pistols). Requests like these do not force an artist away from his/her style but do provide the artist a starting point to work from, which often times can be the toughest part of the commission. The results are usually have more impact too.

Comments: Examples of how expressing what you want can make a difference. Final costs for both images were equal. The first image, original drawn by Dale Eaglesham was the result when I requested "a drawing of Bayani." The second image, originally drawn by Rebekah Isaacs, was the result of requesting "a picture of Bayani looking bad-@$$."

Locating Artists
There are a variety of resources at your disposal when it comes time to searching for an artist to draw your character. Around the City of Heroes forums, the most common starting point is http://www.deviantart.com/.

DeviantArt (dA) is free to join, though a subscription will free you from ads for a spell. If I had to describe dA in one word, it would be “vast.” Artists of all skill levels can be found there, from the first year art student to the comic book legends like Jim Lee. There is also the City of Heroes Group, which serves as a portal to the galleries of artists who are familiar with the game and offer commissions. The group also serves as a portal to galleries of seasoned original character art collectors. The group’s galleries reflect a variety of tastes, styles, and budgets so chances are you will find what you want efficiently by checking out who the members go to for commissions.

Artists’ Alleys at comic book/anime conventions are a great place to locate artists as well. As I mentioned in a previous section, a lot of artists at conventions tend towards the more professional end of the spectrum and have made themselves available to create art of a consistent quality for private collectors at affordable prices. On top of that the turnaround times are generally short. While it takes more effort than browsing dA, hitting Artists’ Alley offers the additional advantages of being able to interact more quickly with artists face to face and gain additional insight into their own processes through chatting or examining their work portfolios up-close. There’s a lot more to see in the artists’ original and printed work at hand than there is on a computer screen. One other thing I’ll mention about Artists’ Alley is that it’s a great way to build lasting connections with artists, which could mean discounted rates on future commissions through them and other artists they know.

That leads us next to my preferred method of meeting new artists and obtaining commissioning: networking. It’s simple and easy. A good starting point is to ask collectors from the City of Heroes group who they would recommend for a commission you have in mind and ask if they could introduce you to the artist. After completing a smooth, easy transaction with the artist, you have a great opportunity to be introduced to other artists. It’s no secret that good artists know other good artists and routinely draw inspiration and collaborate amongst themselves. There’s no harm in asking and the connections you find will surprise you if you work at networking. Networking offers several advantages beyond cold calling/emailing artists through dA. One, networking can turn a no into at least a maybe, and creates opportunities to commission artists that are not openly offering commissions. The artist always reserves the right to decline a commission but if the request is coming from someone the artist has a positive history with, the artist is more likely to at least consider the request thoughtfully. The second advantage is that opportunities created through networking set the stage for smoother and less expensive transactions. In general, people will not recommend something they don’t really trust. That means the referred artist is more likely to live up to expectations and not only deliver a strong illustration, but may be able to do so faster than the usual turnaround times and at rates less than the ones reserved for new clients.

Kris · **Joined:** Sun May 16, 2010 9:28 am **Posts:** 4

The Commission Process

When dealing with artists, it’s important to keep in mind that they have other commitments. For many of them, private commission work is basically overtime. It’s work on top of what they do regularly for living. Unlike overtime at traditional work environments however, artists are generally getting compensated less for extra work, not more. Private clients such as you and I do not have the resources to afford the going commercial work rates. For the most part, the demand for private commissions is relatively low and unsteady. I’ve mentioned before that an artist has always the right to say “no” to a commission, but whether they can afford to say no can be another story. And while some artists are well-organized and can push themselves to draw or paint when they do not really want to, others have a tougher time getting motivated. Add to that the fact that original characters also present a risk for the artist as well; the artist has no assurance that you will not turn around and start printing the artwork in books or on t-shirts for profit. All in all, a commission can become a nightmare work scenario for the artist, so understand that some artists will be guarded.

This does present a challenge for anyone looking to commission art of their original characters, but it’s surmountable through organization and professional courtesy. The easier you make the business end of the commission, the more the artist can focus on the creative side and the sooner you will have your art. All of this begins with your first commission inquiry to the artist.

Your inquiry should be polite and to the point. It should include your character’s references and a short description of some ideas for the illustration itself, as discussed in the Know What You Want section. There are several other details you should ask in your initial inquiry regarding the commission as well:

YouSendIt.com

Comments: Thumbnails of possible layouts for a multiple character commission. Clicking on the image will send you to the final pencils.

So that’s pretty much it as far as the initial inquiry goes. For emailed inquiries, I’d wait around a week for a response Any longer than that, I would just move on. If the artist’s response and additional terms (if any) are fair to you, send a thank you and confirm that you wish to move ahead with the commission. If any payment is expected up front, mention that you will remit payment once they acknowledge receipt of your agreement. Doing so gives the artist one last chance to back out of the deal before you send money.

Once all the agreement terms are squared away, the rest of the commission process is pretty straightforward. It’s just a matter of waiting for the thumbnails and/or the commission. Respect the artist’s estimated turnaround time and only send follow up emails within 1-2 days of any milestone dates (dates when thumbnails are to be forwarded for review, date the commission is expected to be due, etc). Any additions or revisions should be requested before the final pencils/inks/colors are started and after you have reviewed the thumbnails. Once the artist forwards the final draft to you, only minor revisions should be requested at this point (for example, changing eye colors or correcting the pattern on the character’s gloves.) If your references were clear and expectations were set properly through good communication, there should really be no need for major revisions at the final draft stage.

Kris · **Joined:** Sun May 16, 2010 9:28 am **Posts:** 4

Odds and Ends

Here are a few details you may want to think about before and during the commission process.

Payment Terms: Some artists (usually the pros who have steady work) are going to ask for the entire payment up front. Others will request half of the commission up front and the other half upon completion of the work. There are a few artists who will only take payment when the work is complete. Generally, I prefer splitting the commission fee 50/50, but I’m willing to pay the entire fee up front if the artist was referred to me by a reliable source. I will note that of the twenty times I have commissioned artists who have said they would take payment only when the work is completed, only two of them actually finished the commission.

Turnaround Time: How long is too long to wait? Most professional artists typically promise 6-8 weeks for a commission but I frequently get thumbnail sketches within ten days and the final piece within four weeks. If the artist you’re hiring does not give an estimated turnaround time or predicts something beyond 12 weeks, I advise that you consider looking elsewhere. An estimated turnaround time gives you an idea of when to put your foot down and start taking actions to recoup your losses. Good artists are organized enough to know their schedules and manage deadlines…a lot can happen in three months, which can suddenly turn into six months or even a year. (The longest wait I had was 18 months; I was only successful in getting the art back because I had good relationships with the artist’s peers and they fought on my behalf to get my commission completed and returned to me.)

PayPal’s Gift Option: There’s been a growing number of artists on dA who have been requesting that clients pay the fees up front through PayPal and selecting the gift option. I highly advise against doing so. Sending the money as a gift means you have no recourse to reclaim your payment if the commission is not completed. In addition, you have the option of paying the PayPal fees for the regular transaction as well.

Oooh…Shiny: There will be lots of times where an artist’s work will catch your eye and you’ll scramble for your wallet. Take a deep breath and slow down. Give yourself a cooling off period and look at the artist’s portfolio again a few days later. You may find you don’t like the artist’s work as much later on or find some tendencies in his/her style that might be a deal-breaker for you at the going price.

Rule of Three Part One: Three rounds of revision, max. If your references are clear enough, and you requested thumbnails, and as well as expressed some ideas for the composition of the commission, you most likely will not need to request more than one set of minor revisions. I’d advise against requesting more than three rounds of revisions. Some artists, especially the professional ones, will start charging you extra for the additional work. It can also create some hard feelings.

Rule of Three, Part Two: Three deadlines dates, max. Crap happens and inevitably, some of the artists you hire are going to miss their expected turnaround date. There’s really nothing you can do about that so just ask them when they expect to finish the commission. If they miss that second date as well, I suggest expressing your concern politely and ask for the third date. I also suggest reminding them (politely!) of the original agreement and let them know that you expect any funds paid to this point returned to you if they miss the third deadline. If the funds are not returned or if the art is not delivered, then start going through official channels to recoup your losses, such as the Better Business Bureau or PayPal. (To date, I have failed to have my money and/or art delivered in three instances over the past five years for a total loss of $40. Four if you count the artist dying before starting the commission).

Storage: I own most of the originals to the Bayani art I’ve collected over the years and well, I’m a bit paranoid about keeping them save from time and damage. You can purchase supplies from brick and mortar art stores or places online like DickBlick.com. I keep my art in Itoya Art Portfolios and archival boxes. My favorite pieces get custom framed. Custom framing is expensive (starting at $80-$100), but makes the picture easier to display while offering good protection. In addition, well-selected mats and frames can enhance the pictures.

Final Thoughts: So that’s original character collecting in a nutshell. It’s not overly complicated but there can be a lot of details to manage. The keys to a successful transaction are organization and good communication. Both you and the artist should come to a mutual understanding before any money or art is exchanged. Thanks for taking the time to read this overview. If you have any questions, please feel free to contact me through here or deviantArt at the Bayani's Gallery.

Special thanks go out to David Nakayama, Brandon McKinney, Suichiro, Zekiran, StormVyxen, and the folks of AP: Awesome. Planet Girl/Atto-Girl references appear with permission of the characters’ owner.

Collecting Original Character Art

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