Contracts

General Rights
First Rights
"First" rights give a publication the right to be first to publish your material in either a particular medium or a particular location. FNASR, for example, generally applies to print publication, within North America. First British rights means the right to publish a piece first within Britain -- even if it has already been published somewhere else. First electronic rights means the right to be first to provide the material in electronic format. Note that one can sell many different variations on "first" rights, as long as these variations don't overlap.


One-time Rights
Just what it says: the publication is purchasing the right to print your piece once and only once. This is not the same as First Rights. First Rights means the publication is buying the right to be the first to publish your piece. If they buy One-time Rights, they will be allowed to print a piece once, but not necessarily first; the piece may have already appeared elsewhere.


Reprint Rights, or Second Serial Rights
When you offer these rights, you have informed the publication that first rights for the piece have been sold, but that the publication can purchase the right from you to print the piece again, as a reprint. Or, to phrase it differently, the right to print the piece a second time.

It's important to note that many publications consider self-published material, or material posted to an author's web site, as previously published. Therefore, first rights to such material cannot be sold to those publications. Check with the publication before offering a piece that has been posted on your website; reprint rights often pay less than first rights.

If you sell Nonexclusive Reprint Rights, you retain the right to sell reprint rights to the same piece to more than one publication, even at the same time. (See "Exclusive vs. Nonexclusive," below.)


Anthology Rights
This gives the publisher of an anthology -- a collection of shorter pieces -- the right to publish your piece in that collection. Anthologies often purchase reprint material. Many magazines that put out annual "Best of" collections negotiate anthology rights with authors whose work has appeared in their magazines.


First World English
The right to be the first in the entire English-speaking world to publish the piece. You won't be able to sell First American, First Canadian, First British, First Australian or FNASR if you sell this right.

You may have realized by now that in some cases, it pays to think small. Sell First World English, and you've eliminated the opportunity to sell First Rights to every English-speaking country in the world. But if you first sell FNASR to that piece, you can then turn around and sell First British, First Australian, First European -- indeed, rights for any geographic area that FNASR does not encompass. If you keep careful track of what geographic rights you've already sold, you can sell your piece around the world, one geographic area at a time.

You can also sell language rights to your piece. A publication may purchase the right to print your story or article in Japanese, German, Russian, or Spanish. These are often called Translation Rights: Spanish Language Translation Rights, and so on.


Excerpt Rights
This means that the purchaser can use excerpts from your piece in other instances. One example of this is the use of an excerpt in an educational environment. An author sold "ten-year nonexclusive excerpt rights" to his story so that portions could be used in a standardized test program.

It may be worth mentioning here that small portions of a work can usually be quoted -- with proper attribution -- in an article or essay by another author. This is termed "fair use." There are legal guidelines pertaining to what is regarded as "fair use," however, and these guidelines vary from country to country. If you intend to quote extensively, or would like to quote material whose use may be denied to outside parties, you should always ask permission from the original copyright owner.

All of these definitions were taken from this website.
http://www.writing-world.com/rights/rights.shtml

Copyright. 

Most clients expect that they own all rights to the image after they have paid for it, but this isn't true unless specified, most contracts are actually of usage of the image not the actual ownership of the image. If a client uses your work for more than what was discussed and specified, you could take it further and sue. You can sell the copyright of an image so that the client owns the image in entirety, this means you have no legal right to show or use your work again in any form unless approved by your client, you can sell the copyright for a lot more money.

Writting a Comission

What is a Commission?


A commission is working with a client on a brief, whether this be creating a whole book, or one illustration it is still a commission so long as you are working with a client.

How can it help an illustrator?

A commission can help an illustrator understand what the clients needs are, and when you understand a clients needs, you can create a final outcome that they are happy with, and will happily pay you for.


What needs to be in the commission brief?

Deadlines
Sizes/Specifications
Description of what they want the final outcome to look like
Possible requirements like colour scheme and style
How they want the outcome delivered (digital, traditional)
If digital how they want it submitting (PDF, PSD, JPEG)


What does an illustrator do after he/she has read it?

After reading a brief you should discuss it with the client, and if necessary negotiated anything such as time scheme, and sizes. After the brief is sorted, you should discuss payment schedules, and rights of the final outcome, whether they are reserved for use they have signed off on (on certain things but not others, like signs)


How and when do you communicate?

Throughout the process of completing a commission you should have regular progress updates with your client in order to assure that the work is heading in the correct direction that you and your client want, and to address any issues that arise throughout the process. 

Communication and Commissions

Communication within a commission. 

Communication during commissions is one of the most important aspects. If there is miscommunication then the final outcome might be different from what the client expected and wanted. If a client doesn't like the final outcome, and it is due to a lack of communication then an artist should take responsibility for that, therefore it is best to have a clear understanding of the brief before starting any work. The best way to avoid a lack of communication issue is to have the client sign off on what you are working on throughout the brief so that they get a clear understanding of what the final outcome is going to look like.


Managing expectations.

Regular meetings between you and your client should be held to ensure  any changes that need making can be identified and changed before it is too late, and you have wasted too mu8ch time making something that the client won't be happy with.


Communication Methods.

Telephone
Email
Text
Letter

Skype
Face to face

For most clients, so long as you are within their area, face to face is the best option for discussing with clients, as this allows very clear understanding over the brief, over an email, peoples meanings can be lost, and miscommunication will start to take hold of the brief.

Professional Delivery

How to deliver work professionally
When delivering your work to a client you should be clear and polite, as if you aren't clear throughout confusion could arise and cause issues. You must be polite because if you are rude to a client they will be less likely to recommend you on to others, and they will also be less inclined to pay you swiftly and in full. In addition to being polite it would be beneficial to look clean and professional.


How will people feel about this kind of delivery?
If you are well mannered and look the part, people will be happy to be working with you, and they are less likely to be unhappy with the work as they will like you as a person, peoples personal opinions greatly affect if someone likes your work.


How to deliver work unprofessionally
Bad delivery would be showing up unclean and ill mannered, with the work presented terribly. Showing up drunk or hungover is a very big turn off for clients. Smelling bad is a definite issue.


How will people feel about this kind of delivery?
If you show up in this manner, the clients will think you are very unprofessional, and if you are unprofessional they will be less happy with the work, less likely to pay you, and more likely to leave and talk badly of you in the future.

Target Audience

A target audience is the intended audience or readership of a publication, advertisement, or other message. In marketing and advertising, it is a specific group of people within the target market at which a product or the marketing message of a product is aimed. 
People aim their illustration work at a specific target audience generally. Most artists try to keep to one demographic, aiming illustrations towards girls or boys of a certain age group (eg. teenagers, kids)


Mcbess is an illustrator that I think aims his art towards a primarily male audience, his cartoony style is quite referential to old cartoons which leads me to think that adults around 20-35 are his main demographic as it is quite a modern take on a retro style, the tattoos and graphic nature of the image make me think young adults.

Conceptual Branding

A Brand is defined as a type of product manufactured by a particular company under a particular name.

Brands are very important to people and can help to influence behaviour, people will buy in to a specific brand that they love simply for the brand rather than the product, Apple specifically barely need to convince people to buy their products as they have so many loyal fans that will simply buy new products simply because they are released by apple.

Most sports teams have a brand identity associated with them that allows their fans to show support. Sports teams prove the influence that brands have on people, by simply liking a different team, it can cause rivalries, fights, and hatred between fans of the sport, Even though its simply just liking one team over another.

Music can be classed as Branding, individual bands have their own identities, but they also fit in to genres of music which could also be defined as a brand, people 'support' certain types of music whilst undermining and opposing other genres.

Conceptual branding would be creating a concept, a story behind the brand, like with Kraken Rum, they use the story of the kraken to advertise the rum, using quotes from books and such.

What is a Market?

Defining a market, a market is defined as a group of people with a disposable income

• a regular gathering of people for the purchase and sale of provisions, livestock, and other commodities.

Market = Consumers

It is ill advised to go to a market without an understanding of your consumer, they may not be interested in your commodities. 

Seasonal
Something where sales are concentrated in a particular part of the year rather than being fairly even through the year. Gardening supplies and plants, and seasonal vegetables are examples of this.

Annual
An example of an annual market could be holiday seasons, like Christmas, Christmas decorations are sold once a year and prices don't vary. Another annual market could be festivals, they are once a year so the price can be bumped up

Captured
Captive markets are markets where the potential consumers face a severely limited number of competitive suppliers; their only choices are to purchase what is available or to make no purchase at all. an example could be a petrol station on a motorway, they can charge more as if you are low on petrol on a motorway, you either buy more petrol, or are stranded