Simply put, I draw illustrations. Sometimes these are called cartoons, comic art, logo mascots or character design, but they are essentially the same thing.

I produce commercial art that is used on t-shirts, clothing, posters, brochures, flyers, logos, websites and brand packaging. I also do a lot of work for magazines and books, as well as illustrated type (typography) for advertising and media.

Occasionally I also draw caricatures for private or corporate commission as well as the odd web or print design. If you need printing or web development, I have some good people on call that can assist.

All my art is made using both traditional skills and both traditional and modern materials. I love sketching in pencil and using brush & ink, and sometimes good old-fashined dip pens. While I sometimes use gouache or acrylic paint to colour my work, I find that doing it digitally (like in Photoshop) gives me a better result than I could achieve otherwise.

However, for commercial work it isn't always cost or time-effective to use the traditional tools, so a lot of the time I will sketch with pencil on paper, scan it, and "ink" and colour digitally. I do this on the Wacom Cintiq 21" display tablet, which is essentially a screen that you can draw on directly. This helps give my digital work a "handmade" feel, as well as the numerous tools and digital brushes that I've customised. Where possible when digitally painting I spend a lot of time and effort emulating the subtle qualities of real ink and paint.

Here is a shot of the studio. As you can see, my assistant Corkey is setting up the drawing board for me.

As a resource for other artists and boffins, here are the materials I use regularly to create most of my work. Photos to come soon, but for now a list will have to do...

Paper

• Winsor & Newton Smooth Surface Cartridge Pad (Heavyweight) A3
• Strathmore Bristol Smooth 11"x14"
• Arches Watercolour Smooth 185g A3 (good for gouache)

Pencils

• Staedtler Mars Lumograph (blue) 2B / B
• Koh-I-Noor Versatil 5347 clutch pencil (really chunky for thick outlines)
• Derwent Inktense - Ink Black 2200 (great for the sketchbook - nice and black)
• Caran D'Arche Fixpencil 22 (my favourite clutch pencil)

Brushes

• Winsor & Newton Kolinsky Sable Series 7 - size 2
• Neef 225 Finest Sable Round - size 2
• Akashiya Brush Pen for inking on the go
• Roymac Golden Sable 5500 - size 1 (for white correction)

Pens

• Dip pen using Gillott 303 & Hunt Speedball B-6 for lettering
• Pilot Fude Sign pen
• Vintage fountain pens for doodling

Inks

• Daler-Rowney FW Acrylic India Ink (for brushes)
• Daler-Rowney Calli ink (for dip pens)
• Luma or Dr Martens Bleedproof White
• Pelikan Brilliant Black & Blue-Black or Watermans custom mix (for fountain pens)

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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
• Usage of the art - is it for a one-off t-shirt or poster, or will it be used as company branding?
• Time you would like to buy the art for. Is it 2 years, or indefinitely?
• Copyright is the biggest cost factor. If you want to buy copyright out, this will incur a larger cost.

As a general rule, illustrations go from $300 and upwards. In some instances (like bulk work or simple art without revisions) this figure can go down a bit further.

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: http://www.cartoonists.org.au/?page=207. Branding for companies and products is seen in a different light to one-off illustrations and are generally more expensive, seeing as they are actively promoting and advertising your business or product.

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 (02) 9o43 2419 during AEST business hours.

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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 commisioning 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...

1. Your Company Profile

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)

2. Objectives and Target Audience

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?

3. Deliverables

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.

4. Budget and Timing

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 a 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.

5. Reference Images

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.

6. Creative Ideas

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:

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

7. Technical Requirements

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

• EPS*
• TIFF
• PDF
• JPG

* Some artwork does not reproduce easily as EPS, especially if it is very detailed, and hand drawn. 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
• PNG
• SWF

It is always best to check with your printer or web developer to determine what the required format will need to be.

Well, that's the basic gist of it. Just try to keep it clear and concise. If you have any questions regarding the design brief process, feel free to contact me.

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I've chosen a magazine illustration to, er... illustrate the artmaking process I usually go through. The brief was to create an illustration portraying seven different types of 'bosses' in the workplace. I was provided with the article, which outlined the personality traits of each boss. This image was used as a page-and-a-half spread, and I needed to make sure to leave space for a header and text/copy.

1. Thumbnail Rough

This is a really quick five-minute rough sketch to plot out the space. In some cases the client doesn't need to see this, but it can be a good way to make sure that the layout is on track before I go and spend a lot of time on more finished pencils.

I've left a faint grey area around the outside which indicated the bleed of the magazine. You can also see a pale blue vertical line which is the page gutter. I make sure not to put anything important in there, as it will be distorted and lost in the printed version. The text or copy will be on the right third, so there's nothing too important there.

2. The Sketch

I find the sketch to be the most important step in the illustration process. If the illustration doesn't work here, there is no amount of cool inking and colour that can fix it. It may not look it, but I actually drew this sketch digitally, as I was on a pretty tight deadline with this one, and managed to shave off a few hours this way.

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.

3. Inks

I inked this in digitally using the Wacom Cintiq. With solid linework it's pretty hard to go wrong from here. Illustrations like this are what I'd call my natural style, and I have a lot of fun drawing them.

4. Base Colour

Here I lay down flat colours to use as a base for the detailed colour work. The don't have to be perfect at this stage, but I like to make sure the illustration is working tonally before setting off on the shading.

5. Shading & Finished Art

Voila! I've added shading and texture, corrected colours and added highlights. I also reworked the sexy boss' lips, as they were looking a little too collagen-enhanced with the shading added. I also pushed back the right hand side and background a little more to focus the viewer on the main characters.

I sent the preview to the client, they loved it, so I sent the final art off to its new home!

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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 "yesterday" 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 week, 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.

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.
• 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.
• For most commercial illustration these days, I work through The Drawing Book illustration agency. Once we're ready to go I can put you in touch with one of my agents; Matt Jackson or Jennifer Wills, who will manage the project and ensure a smooth process.

Time Schedule

• 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.

Invoicing and Payment

• 50% deposit must be paid before commencement to secure my time on the project.
• 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 (no credit card option), money orders and cheques.
• If you are paying by cheque, please allow extra time in your deadline for processing.
• 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.

Copyright, rights and licensing

• 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.

Delivery of Artwork

• Artwork is delivered in electronic medium
• Sketches and previews are sent via email
• Final artwork can be sent via email, downloaded online, or sent on CD
• Artist’s Copies : Client shall furnish the Artist with two copies of the Work upon publication.

Credit

• 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.

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Electronic Mail

anton@antonemdin.com

Telephony

Studio: +61 (02) 9043 2419 / Mobile: +61 0402 308 481 (business hours only, please)

Please note that I've thrown my fax machine out the window. Please scan & email, or use carrier pigeon.

Snail Mail

Anton Emdin
PO Box 255
Westgate, Sydney
NSW 2048
Australia

Agency Details

The Drawing Book
drawingbook.com.au

Matt Jackson ~ matt@drawingbook.com.au

Jennifer Wills ~ jennifer@drawingbook.com.au

Phone: +6 12 9922 6811

Terrace 7, 263 Alfred Street North, North Sydney 2060, Sydney, NSW, Australia

Artists

• Ross Tesoriero ~ This guy is responsible for getting me into comic art. Feel free to hurl abuse.
• Glenn Smith ~ Hero of the Sydney underground and metal art scene.
• Ben Hutchings ~ Funniest comic artist this side of the border. Not sure which border though.
• David Follett ~ This guy's linewework is so good that it makes me angry and strangely aroused.
• Jason Paulos ~ Hairbutt the Hippo and much more excellent comic art.
• Chris Wahl ~ Wow... Is there anything this guy can't do?
• Rowan Tedge ~ Brilliant crazy squigglin' fun.
• Marty Schneider ~ This dude rocks hard.
• Zen Grenade ~ Slick stylised character design.
• Halinka Orszulok ~ Nocturnal urban photoreal painting
• Amanda Emdin ~ Good work, and not just 'cause she's an Emdin!
• Tony Giles ~ I'm told these gorgeous paintings look much better in the flesh, so until then, we'll have to enjoy them on the interwebbynetto thingo.

Designers

• Henry Tapia ~ By the hammer of CSS, this HTML god has saved my bacon on this site.
• Eleonor Tapia ~ Design runs through the blood of this family!
• Australian InFront ~ The definitive source for Aussie designers.

Blogs

• Mr Speaker ~ Javascript flâneur, internet flibbertygibbert. Without this man, I wouldn't have this website. Or crabs for that matter.
• Gradient Dropshadow Curve ~ Internet nerditry and other interesting things.
• Busting Out ~ Internet splendidness at its worst.
• Drawn! ~ Excellent illustration and animation blog from Canadia.
• Team Sputnik ~ Lots of work from writer/artist team Antonella Caputo and Nick Miller
• The Word ~ Musings from writer Alan Baxter.

Miscellaneous

• The Drawing Book ~ My illustration agency.
• Graphic Classics ~ Brilliant series of illustrated graphic novels.
• Greg Minuskin ~ Fountain pen nibmeister extraordinaire.