Asking Community Respectfully

[Zachary Schrage]

https://www.zacharyschrage.com/

What do you guys think of the quality of my work?
1-10?
I don't know if I am just unlucky, not good enough, in the wrong timeline, there's just too many layers. Every person I've shown my work to from average person to an Agent, has told my I have excellent work. But for some reason no opportunities come.

[NessIllustration]

@Zachary-Schrage It is absolutely stunning quality. I think maybe I found a clue in why you're having trouble. You said "No opportunities come". What are YOU doing to actively seek out and create opportunities? Are you querying art directors every month? Do you have a newsletter? Are you researching new companies and building your network?

[Pamela Fraley]

@Zachary-Schrage @Zachary-Schrage your work is stunning. Absolutely beautiful. My suggestion would be to make something. Make a finished product - a book or a short graphic novel and take it to a con or SCBWI event or something. There’s no reason you shouldn’t be getting work. it seems like it’s a matter of getting it in front of the right people at this point.

[KathrynAdebayo]

Your work is so beautiful. I think your art fits within a niche style. This is a good thing, so like others have said, you could try seeking out work for yourself by targeting a more specific clientele or by make something yourself. I would suspect that you'd build a following from something you create so long as people know it exists.

[Mariana B.]

Wow your work is so beautiful and detailed! In my opinion well above 10 for sure. I think some pieces could use a little more value contrast, but you show a nice wide range of topics, angles, interior and exterior.

Following what others said, the only thing I see missing is having a sequence of illustrations showing a narrative.
Of course it depends on what your goal is. If it’s storytelling (kidlit, graphic novels, visual novels, etc) you need to show the same character through a story.
If instead your goal is product illustration. Think what kind of product will fit your style and interest and make a mock-up product with that, for example a mock-up showing your art used on tarot cards or something like that.
I hope it helps!

[Jennifer Fletcher]

@Zachary-Schrage Um I think your illustrations are stunning....they remind me of the illustrations in the book " Cloudy With A Chance of Meatballs" which is a very unique style but lends well to children's books if that would be what you want to pursue. I'd be curious what your work would look like if you added a very limited color palette...Cloudy's only got like 2 or 3 colors per illustration, but like you, the line work is captivating and you just want to sit for a minute with each illustration and take it all in.

I'm an illustration baby, so I have no unique advice on how to get seen, but it seems to me that everyone else's advice to put yourself out there a little bit more is good advice

[kylebeaudette]

11/10

[AustinShurtliff]

@Zachary-Schrage Your work really is amazing, but I can understand your concern. Looking at your portfolio, I can see your skill level and a very developed style. Who is the specific audience/market you are trying to create work for? You might need to find the right audience/market for your particular style.

[TY Graphics LLC]

@Zachary-Schrage, you've flawlessly emulated Franklin Booth's style. It is gorgeous, rich, and intricate. You certainly have your own subject matter and arrangements.

I asked ChatGPT where Franklin Booth's illustration style would fit in the modern illustration market. The response applies to your examples as well.

Franklin Booth's distinctive line art style, characterized by intricate pen-and-ink work that mimics the appearance of wood engravings, certainly has a place in the modern illustration market. Here are a few reasons why:

Nostalgic and Timeless Appeal: Booth's style evokes a sense of nostalgia and craftsmanship that appeals to audiences who appreciate traditional, handcrafted artwork. This appeal is particularly strong in markets focused on vintage or historical themes, such as book illustrations, posters, and packaging design.

Unique Aesthetic: In a digital age where many illustrations are created with software, Booth's style stands out for its meticulous detail and labor-intensive process. This uniqueness can be a selling point for projects that want to differentiate themselves, such as high-end editorial illustrations, graphic novels, or special edition books.

Revival of Traditional Techniques: There's a growing trend among illustrators and clients toward reviving traditional techniques. This can be seen in the increasing popularity of hand-drawn illustrations, letterpress printing, and other artisanal practices. Booth's line art style fits well within this trend and can cater to clients looking for a retro or classic look.

Versatility Across Media: While originally suited for print, Booth's style can be adapted for various modern applications, including digital media. For instance, it can be used in web design, social media content, and digital marketing to create a distinctive and memorable brand identity.

Niche Markets and Collectors: There is a niche market for highly detailed and labor-intensive illustrations among collectors and enthusiasts of fine art prints, posters, and original artwork. Booth's style would appeal to those who value the artistry and skill involved in such work.

Potential for Educational and Artistic Use: Franklin Booth's style can also find a place in educational materials or art courses focused on teaching traditional illustration techniques. Art books or guides on mastering pen-and-ink techniques might also feature his style to attract students interested in classical methods.

Overall, while Booth's style may not be mainstream, it has a dedicated and potentially lucrative niche in the modern illustration market, particularly among clients who value craftsmanship, detail, and a classic aesthetic.

[TY Graphics LLC]

@Zachary-Schrage, you need to become a force of nature that creates your reality. One thing I do is start by making an uncompromising commitment to a project that I visualize in all aspects, down to the last detail. So, this might be an illustrated children's book: thirty-two pages, sixteen illustrated spreads in your style and minimal text. The reason I use Franklin Booth is that he is a known quantity in terms of determining where you fit in the marketplace.

So, once again, I asked ChatGPT to estimate the time, compensation, and preparation needed to complete such a project. Here is the response:

Bidding on an illustrated book project, especially one with a distinctive style like Franklin Booth's line art, involves several considerations to determine a reasonable asking price and timeline. The pricing and duration depend on several factors, including the complexity of the illustrations, the illustrator's experience, the client's budget, and the project's scope.

Pricing for the Project
Factors Influencing Pricing:

Complexity and Detail: Franklin Booth's style, known for its intricate line work and high level of detail, can be time-consuming. Pricing should reflect the time and skill required for such detailed work.
Experience and Reputation: The illustrator's experience and reputation in the market also affect pricing. A more experienced illustrator can command higher rates.
Client Budget and Market Standards: Understanding the client's budget and industry standards for similar projects is crucial in setting a competitive yet fair price.
Pricing Range:

Per Illustration: Given the detailed nature of the illustrations required, a reasonable rate per spread could range from $500 to $2,000 or more per illustration, depending on the factors mentioned above.
Total Project Cost: For 16 spreads, this brings the total project cost to a range of $8,000 to $32,000. This range can vary based on specific project details, the illustrator's negotiation with the client, and potential additional costs (e.g., revisions, rights, or royalties).
Considerations for Pricing:

Rights and Usage: Determine if the fee includes full rights to the illustrations or if the illustrator retains some rights (e.g., for prints or other uses). Full rights typically increase the fee.
Revisions and Changes: Clarify how many revisions are included in the price and how much extra revisions will cost.
Deadlines and Rush Fees: If the project has a tight deadline, a rush fee may be appropriate to compensate for the increased workload.
Expected Duration for Illustrations
Estimated Time Per Illustration:

Complex Line Art: Creating intricate, detailed line art in the style of Franklin Booth can be time-consuming. A single spread could take anywhere from 20 to 40 hours or more to complete, depending on the complexity and size of the illustration.
Average Time Calculation: For 16 spreads, this equates to 320 to 640 hours of work.
Total Project Duration:

Overall Timeline: Assuming the illustrator works full-time (40 hours per week), the project could take anywhere from 8 to 16 weeks to complete.
Buffer Time: It’s advisable to include additional time for revisions, feedback, and unexpected delays, so the overall project duration might be around 10 to 20 weeks.
Steps for Bidding and Planning
Prepare a Detailed Proposal:

Include a breakdown of costs, time estimates, and any conditions (e.g., revisions policy, payment schedule).
Provide examples of similar work or a portfolio to showcase the illustrator’s capability to meet the project's requirements.
Communicate Clearly with the Client:

Discuss the client’s expectations for style, detail, and deadlines.
Clarify the scope of work, including any additional tasks beyond the 16 spreads (e.g., cover design, endpapers).
Negotiate Terms:

Be open to negotiating the price based on the client's budget while ensuring fair compensation for the work.
Agree on payment terms (e.g., upfront deposit, installment payments, final payment upon delivery).
Conclusion
A reasonable asking price for a project requiring 16 spreads in a highly detailed style like Franklin Booth's ranges from $8,000 to $32,000, with individual illustrations priced between $500 to $2,000 or more. The expected duration for each illustration could be 20 to 40 hours, leading to a total project timeline of 8 to 16 weeks for completion, with an additional buffer for revisions and delays. Proper planning, clear communication with the client, and a detailed proposal are crucial for a successful bid and project execution.

At 16 weeks, you could do three projects annually and earn approximately $96,000. Then, you ask yourself if this is workable. For most, this would be adequate. Of course, there are other vehicles, such as posters.

[TY Graphics LLC]

@Zachary-Schrage When I first started, I contacted 200 ad agencies and design studios. One was a single project, and the other provided numerous projects over that summer. I walked into their studio on Wilshire Blvd in downtown Los Angeles. On the table was a very poor rendering of a semi-truck for a client's brochure. They were in a dilemma; the creative budget had taken a severe hit, and the art was subpar and unusable. I showed my portfolio of airbrush-style illustrations, and they were impressed, but I was an unknown quantity. They hesitated until I said, "Give me two days, and I will return with a finished piece. And, if you don't like it, don't pay me." My asking price was $200, but they doubled it to $400. I built a collection of print samples proving my art translated well to print. Again, you need to be a force of nature. Unrelenting and determined with the foreknowledge of your inevitable success.

[Zachary Schrage]

@NessIllustration I guess there's alot more I should be doing. I'm reaching out, but one step at a time.

[Zachary Schrage]

@Pamela-Fraley I'm definitely going to February's SCWBI conference!

[Zachary Schrage]

@KathrynAdebayo thanks, it's difficult to find the niche. I'm preparing for local art fairs in the fall too see what the common ppl think of my work.

[Zachary Schrage]

@Mariana-B I've made a deck of cards before. It's under mocha myths and magic on my site. I want to master them and print them on nice card stock but it's too expensive for me right now. The prototype I printed came iut nice, you just can't do card tricks and fan them.

[Zachary Schrage]

@AustinShurtliff I've been poking here and there, it's hard to find the right audience. I feel like I need that little push of momentum. But nothing really yet. I am preparing for some conventions and art fairs this and next year though! Social media isn't working for me.

[Zachary Schrage]

Woah! Thanks chatgpt? I guess?

[NessIllustration]

@Zachary-Schrage I know it can be overwhelming! Start small, but consistent. Send emails to 10 companies per month. The next month, send a new piece of art to the same 10 companies and add 10 more. The next month, send a new piece of art to the previous 20 companies and add 10 more. Often it's not even about how many companies you contact, but how many times you contact the same company.

One thing's for sure: it's NOT your art that's the problem. Stop looking for the problem in the wrong place (and losing your confidence as an artist because of it). Art doesn't sell itself no matter how pretty. You're going to have to put in some work to have a real business, Zachary.

[Zachary Schrage]

@NessIllustration I'm never going to give up! I love drawing way too much

[Sarah VanDam]

@Zachary-Schrage Wow, you’ve already got a lot of feedback, but thought I’d throw in my two cents:

Your technical ability in this black and white style is absolutely incredible! I love the scratchboard aesthetic and your control of atmospherics, value and texture. You’ve got some award-winning stuff going for you.

For my feedback I’d say this: Your style feels like a combination of Ray Cruz (see “Alexander and the Terrible, Horrible, No Good Very Bad Day”) and Chris Van Alsberg (see “The Mysteries of Harris Burdick) with a sprinkle of Anime. You could take this as another compliment (I especially love Chris Van Alsberg), but one thing to note is that, at least right now, I think both of these styles feel kind of dated (both books came out decades ago in the 70s and 80s). Actually, after a little more thought, the style that it REALLY reminds me of dates back to the 1800s (you probably know this already, but I just wanted to point it out):

Keeping absolutely everything in your portfolio black and white probably adds to that feeling. How and whether to try and make your style feel slightly more contemporary is a difficult question to answer, but one that you might want to think on (anyone else in the group here agree or disagree with me?).

Having said this, I think of Jed Henry, who leaned into making fan art pieces that look similar to old Japanese prints, but they feel contemporary because of subject matter and color application. Maybe you could figure out your own version of doing something like that.

At the very least, I’d work on creating a few more pieces with color to round out your portfolio. I think you definitely can do this: You demonstrated great use of color in your windowsill sketching piece. I’d replace the two anime fan art pieces—They’re pretty good, but not at the level of everything else, and I would just take out the colored 4-wheeler piece, which looks quite a bit more amateur compared to your other work.

I hope this helps in some way! You’re doing amazing stuff!!