I draw hand-crafted illustrations to fit your brief. Please click the big ol' button below to chat about your project.

I've written this page to help give you all an idea of what I do, how I do it, and how we can get it done.

Please scroll down for a heap of info.  If there's anything I haven't covered or if you have any other questions please don't hesitate to call me on +61 0402 308 481 or simply email your enquiry.

What I do

Simply put, I draw illustrations for you.

Mostly I draw things that end up on the pages of magazines, as well as character, caricature and logo design for business & advertising. When I have time I also enjoy doing private commissions.

My publishing clients include GQ, MAD, People, Business Reporter, Penthouse, Rolling Stone, and a whole lot more. I've also drawn for Kellogg's, DDB, George Patterson Y&R, and a while bunch of other fancy companies and ad agencies.

When my schedule allows I draw caricatures for private commission. Please get in touch for more information.


How I do it

All my art is made using both traditional and modern materials.

These days I enjoy sketching digitally, using a Wacom Cintiq interface which allows me to draw directly onto the screen. It is a very close feel to drawing on paper and allows my digital work to have a natural feel.

Depending on the desired outcome I will then either use brush and ink, or draw the linework digitally, then colour. Increasingly I'm doing more digital painting, where I skip the inking stage and just colouring over the sketch.

The Artmaking Process

I've chosen a magazine illustration to, er... illustrate the artmaking process I usually go through. The client is Revolver - a hard rock magazine. The brief was to illustrate a story for their 'Tales From the Pit' section, where musicians recount funny or interesting stories from the road.

In this case it was Bjorn 'Speed' Strid from metal band Soilwork, and it was his account of bass player Ola falling through the stage that I was to draw.


 Thumbnail Roughs -- very quick compositional 'scamps' to communicate the idea

Thumbnail Roughs -- very quick compositional 'scamps' to communicate the idea

The thumbnail is a really quick five-minute rough (or 'scamp') to communicate to the client the composition of the piece and generally how it will look. In this case I've drawn three different angles of the falling through the floor event.

I consider the thumbnail THE most important part of the illustration: if the composition is wrong here, no amount of rendering will save it.

The client chose #1, so now we move on to the sketch...

2. The Sketch

 The Sketch -- I usually add some shading & wash to get the look 'n' feel somewhat closer to how the finish will turn out

The Sketch -- I usually add some shading & wash to get the look 'n' feel somewhat closer to how the finish will turn out

So here's where the real meat and bones of the illustration happens. I try to keep my sketching loose enough to keep the energy, and tight enough that I don't have to think too much while inking. It's a delicate balance.

This illustration required caricatures of the whole band, so I gathered up a dozen or so reference photos to make sure I would capture their likenesses. I also jotted down their instruments over their band photo just to make sure that I got it right while sketching.

The client was pleased. No revisions, so I went on to ink and colour. The next thing the client will see is the finished art.


 Black & White inks

Black & White inks

I inked this in digitally using the Wacom Cintiq. With solid linework it's pretty hard to go wrong from here...


 Base colour

Base colour

Here I lay down flat colours to use as a base for the detailed colour work. I also map out areas to select in Photoshop. The colours don't have to be perfect at this stage, but I like to make sure the illustration is working tonally, or at least has the basic palette before setting off on the shading. In this case it was very brown and purple-heavy, which I thought would suit the rock & roll feel.


 Finished art

Finished art

Voila! I've added painted shading and texture, corrected colours and added highlights to pop the foreground figure out. This illustration is a balance between foreground and background; thr trick being to draw the eye into the centre and then allow it to move around the rest of the piece.

I sent the preview to the client. They loved it, and to finish the cycle: here it is published in the mag...

 Turned out nicely!

Turned out nicely!

Contact Details for the Communicative




Mobile: +61 0402 308 481 (AEST business hours only, please)


Anton Emdin
PO Box 890
Leichhardt, Sydney
NSW 2040

Guide to Costings

A common question is "how much does an illustration cost?". Unfortunately, it's one of those "how long is a piece of string?" questions. Every quote for a project is treated individually, and the main factors that affect price are:

  • The detail involved in the art
  • The time it will take to produce the art
  • Is there a likeness or caricature? This takes a little longer to produce
  • Usage of the art - is it for a one-off t-shirt or poster, or will it be used as company branding or identity?
  • The time you would like to use the art for. Think of it like hiring the illustration. Will it be 6 months? One year? Two?
  • Copyright is the biggest cost factor. If you want to buy copyright out, this will incur a larger cost. Most of the time copyright buyout is not needed, but in the case of logos and branding it is the norm.

As a general rule, illustration starting point is $300 and moves upwards depending on the factors above.

Copyright is automatic to the artist, and needs to be 'bought out' for extra cost. The Australian Cartoonists' Association has published these figures as a guideline for publishing rates. Branding (ie. logos, mascots etc.) for companies and products is seen in a different light to one-off illustrations and generally attract a higher fee.

If you are based in Australia add GST to the price. International clients are not charged tax.

For a more detailed quote for your project please don't be shy to email me or call on +61 0402 308 481 during AEST business hours.

Deadlines & Timing

Never missed a deadline, and not planning to!

If I can't get the work done on time I won't take on the project. If your deadline is "tomorrow" and I have a free schedule, great - bring it on! But with a realistic time frame there is often a better outcome and everyone is happy.

Most illustrations are able to be physically drawn within a couple of days, but often are held up in the revisions and approval process. The faster approval or revisions are decided upon, the faster the work will be done.

The timing also depends on the amount and urgency of other projects I am currently working on.

Writing a Creative Brief

A design or creative brief is a written explanation outlining the job that you are wanting done. Here are some tips and ideas on how to write an effective brief for commissioning artwork or design. The better the communication of ideas, the better the chance of a successful end result.

Creative briefs are usually written in Word or PDF documents, but may also be written as an email if need be. Don't be limited by these points; they are just suggestions. So here we go...


Tell me some information about your company. Be sure to include:

  • The name of your company or business
  • The nature of the business
  • How big your company is (ie. how many staff are employed)


It is important to give a general overview of the job and the projected outcome.

  • What is the project?
  • What are you expecting this art or design to achieve for your business?
  • Who is going to see the finished product?
  • Who are you trying to attract?


Exactly what artwork are you needing?

For example:

  • One (1) full colour character design
  • Three (3) full colour poses with no background
  • One (1) detailed illustration (A4 size) of the character driving a car in the countryside
  • Etc.


It is best if you let me know how much you have allotted to spend on the project. This allows me the option to find an art or design solution that will fit your budget.

If there is a specific deadline that needs to be met, I will need to be informed.


It is very important that you show me images that incorporate the ideas or 'look' that you are after. Feel free to send over images that I have produced, as well as others that you may have found online.

Please note that I will not copy other artists' work. I always assume that you are approaching me to create a unique piece of art or design, tailored for your business.


While it is my job to bring artistic ideas to the table, it can help if you present your initial ideas at the outset. This way we can talk about the possibilities without too much trial and error later. Such things may be:

  • Style of the art or design
  • Colours
  • Positioning or posing of characters or images
  • Typefaces - handwritten, modern, traditional, serif, sans-serif etc.
  • Look and feel


Please list the file format(s) you require. Generally, if the work is for print, the standard formats are:

  • TIFF
  • PDF
  • JPG (RGB colour only)
  • EPS*

* Some artwork does not reproduce easily as EPS, especially if it is very detailed, and hand drawn. Also, some colouring techniques don't translate well to vector. In these cases 'raster' art such as TIFF or JPG at high resolution is recommended

If the work is solely for a website, or screen resolution, then the most common formats are:

  • JPG
  • GIF (for flat colour only)
  • PNG

It is always best to check with your printer or web developer to determine what the required format will need to be. Please note that EPS usually attracts an extra cost.

Well, that's the basic gist of it. If you have any questions regarding the design brief process, feel free to contact me and we can chat more.

Payment Terms and Conditions


  • A schedule compatible with the Client’s timing requirements will be established at the outset of the project.
  • All dates and time schedules are contingent upon prompt project commencement and timely Client’s input as required.


  • At least 50% deposit must be paid before commencement to secure my time on the project. For private commissions I require 100% upfront.
  • Final artwork files are delivered 'C.O.D style' - only after final balance has been received and processed.
  • Direct bank deposit is the preferred payment method, but we accept Paypal, money orders and cheques. If you are paying via Paypal, there is a small percentage fee to cover their processing costs.
  • If you are paying by cheque, please allow extra time in your deadline for processing. International cheques (checks) incur a $15 fee
  • If you cancel the project before completion, there is a 'Kill Fee' of 50% of balance owing. If more than half the work has been produced, the cost is worked out as the percentage of work completed.


  • Client acknowledges that Artist (Anton Emdin) is first and sole owner of all “copyright” and shall retain intellectual rights of all Illustration(s) and/or Artwork(s).
  • Under international law, copyright and intellectual property always belongs to the Artist (Anton Emdin) unless copyright is assigned to the Client (yourself) in the form of a 'Copyright Assignment'. Copyright can be purchased if required, but usually an 'Exclusive License' is the best option.
  • An Exclusive License allows the client full priveliges of the artwork in specified regions and agreed applications/purposes (ie. TV, Web, Print, T-shirts etc.) for a specific time period (ie. two years).
  • All usage rights are void until full payment has been received.
  • The Artist is entitled to use all Illustrations or Artwork for self promotion purposes or to enter into any contest.
  • Reassigning of Rights : Client may not assign or transfer this Licence or any part thereof unless authorised in writing by the Artist.
  • No modifications, changes or alterations may be made to Illustrations or any part thereof, directly or indirectly, without the Artist’s prior written consent.
  • All original artwork sold is subject to 'No Reproduction Rights', meaning that if you buy an original sketch or drawing that you do not have the right to copy or reproduce the art in any way , including online or in printed matter without the express written permission of the artist, Anton Emdin.


  • Artwork is delivered in electronic medium unless printing is required
  • Sketches and previews are sent via email
  • Final artwork is sent via email, file transfer website, or post
  • Artist’s Copies : Client shall furnish the Artist with two copies of the Work upon publication.


  • Client agrees to include a credit to the Artist in connection with the Work.

If you are going ahead with a project or illustration please email me your written agreement to proceed.

Enough talk, let's do this!

Ok! You're ready to get in touch and commision me to draw you something awesome! Before you do, please make sure you can supply me with the following things:

  • A nice creative brief. The more information I have the easier it is for me to quote you and create the artwork that you are after. Communication is essential, otherwise it's all guesswork, and will end up costing you more. If you're unfamiliar with how to do one I have written a few pointers on writing a creative brief (see heading above).
  • I'll need your business details for invoicing. These are full business/trading name, ABN/ACN, street address, phone/fax numbers, email address, website.
  • Unless you are a book or magazine with an established publisher I will require a deposit before I start the job. I will send out an invoice with my banking details for the amount required. More detailed information regarding payment below.