Table Of Content

\0^ 6DIT Jo/y ^PRicir Digitized by the Internet Archive 2012 in http://archive.org/details/graphicartistsgOOOgrap 10th Edition Graphic Artists Guild Handbook: Pricing & Ethical Guidelines ^ Credits Graphic Artists Guild Executive Director Steven R. Schubert National President Jonathan Combs Editorial Project director Paul Basista, CAE Project manager Sara Love Projectconsultant SimmsTaback Supervising editor/writer Susan E. Davis Research &coordination Patricia McKiernan Design & Production Artdirection Sara Love Coverart Richard McGuire Bookdesign & prepress Ali Karp alink newmedia | alink@earthlink net . Cover printing Phoenix ColorCorp. Interior printing & binding Maple Vail Book Manufacturing Group Publishing Publisher GraphicArtists Guild, Inc. Distributorstothetrade in the U.S. by North Light Books: An imprint F&W of Publications, Inc. 1507 Dana Avenue Cincinnati, OH 45207 800.289.0963 Direct-mail distribution GraphicArtists Guild 90John Street, Suite403 NewYork, NY 10038 800.500.2672 www.gag.org | Copyright©2001, 1997, 1994, 1991, 1987 bytheGraphicArtistsGuild, Inc.exceptwherenoted. Allrightsreserved.Nopartofthisbookmaybereproducedin anyformorbyanyelectronicormechanicalmeansincluding information storage and retrieval systems without written permissionfromtheGraphicArtistsGuild,exceptreviewers whomayquotebriefpassagestobepublishedinamagazine, newspaper,oronlinepublication. — ISB2N:304-953261072-8119-5 ®^^«.^ ["1 Dedication To Simms Taback who, over the last two decades, has devoted his vision and insight to developing this publication into the best-seller that it is today. Each edition of this book, which has truly had an impact on our profession, was carefully directed by Simms, who still watches over ittoday. "* [ vi Foreword GraphicDesign Prices 164 &TradeCustoms vii President'sPrologue TheAgreement 167 TradePractices 167 viii Acknowledgments CorporateGraphic Design 169 Branding Design 172 xi Introduction Advertising&Promotion Design 173 Collateral Design 176 ProfessionalRelationships 2 Publication Design 179 Workingwith Illustrators 4 BookJacketorCoverDesign 182 Workingwith GraphicDesigners 12 BookDesign 184 SourcesofIllustration &DesignTalent 19 BookPackaging Design 187 Marketing&Self-Promotion 20 Lettering&Typeface Design 188 EthicalStandards 21 Retouching&PhotoIllustration 192 Environmental GraphicDesign 195 LegalRights&Issues 26 Exhibition&DisplayDesign 197 Copyright 29 BroadcastDesign 200 WorkforHire 44 Greeting Card &NoveltyDesign 200 RightsofCelebrity&Privacy 48 Chart&MapDesign 203 Moral Rights 51 ProductionArtist 204 ResaleRoyalties 53 PracticesGoverningOriginalArt 53 WebDesign&Other 206 Laws Defining FairPractices 54 Digital Media Practices Trademarks 54 ReadyfortheInternet& NewMedia? 208 TradeDress 56 The Digital Marketplace 209 International&CanadianCopyright 58 WebSiteDesign 210 ComputerGames 222 Professional Issues 62 Software Programs 224 DeductibilityofArtwork 64 OtherDigital Markets 224 SalesTax 64 Glossary 225 EmploymentIssues 71 Cancellation&Rejection 75 9 Illustration Prices&TradeCustoms 228 Fees("Kill Fees") Historical Overview 230 Speculation 76 Overview 231 Contests&Competitions 77 Advertising Illustration 231 Preproduction Illustration 244 TechnologyIssues 82 OnscreenArtworkin Motion 249 Professional Practices 85 Pictures,Television,&Video Influenced byTechnology Corporate&Institutional Illustration 250 PricingConsiderations 91 BookPublishing 254 Legal&Ethical Issues 93 Editorial Illustration 265 Health Issues 100 Package Illustration 271 The LaborMarket 101 Fashion Illustration 274 GreetingCard, Novelties& 278 Essential BusinessPractices 104 Retail GoodsIllustration Part1: Preparation 106 Medical Illustration 282 PartII: Negotiation 114 Scientific(Biological) Illustration 286 PartIII: KeepingTrack 120 Technical Illustration 288 PartIV:Collecting 124 Architectural/InteriorIllustration 292 PartV: Reuse&OtherMarkets 134 Dimensional (3-D) Illustration 295 Marbling (Marbled Printing) 300 Salaries&TradeCustoms 152 PostageStampIllustration 302 EmploymentConditions 155 Salaries 156 10 Cartooning Prices&TradeCustoms 306 Design&ProductionJobCategories 156 MagazineCartooning 308 TradePracticesinTwo Disciplines 160 EditorialCartooning 311 [ iv 1 Contents NewspaperSyndication 311 NondisclosureAgreement 394 ElectronicPublishing 314 forSubmitting Ideas ComicBooks 314 Surface/Textile 395 Designer-AgentAgreement OriginalCartoon Books 319 Surface/TextileDesigner's 401 orCollections Estimate&ConfirmationForm Reprints 319 Surface/Textile 403 Licensing&Merchandising 320 Designer'sHoldingForm Surface/Textile 404 11 Animation Prices&TradeCustoms 322 Designer'sInvoice ComputerAnimation 324 WebSiteDesign& 405 MaintenanceOrderForm OtherFormsofAnimation 326 Animation IsMulticultural 326 14 TheGraphicArtistsGuild 408 CareersinAnimation 326 Long-RangeGoals 410 JobMarkets 327 HistoryoftheGuild 410 Salaries 328 TakingAction 416 Pricing 329 MemberBenefits&Services 418 National BoardofDirectors 419 12 Surface Design Prices 332 &TradeCustoms TheGraphicArtists 420 GuildFoundation Computer-Aided Design 335 TheGraphicArtistsGuild 420 Changing Industry Legal DefenseFund TypesofSurface&TextileDesign 336 OnJoiningtheGuild 421 Licensing&Royalties 337 GraphicArtistsGuild 421 Workingwith Representatives 341 MembershipApplication TradePractices 341 15 Resources&References 422 13StandardContracts 344 TheGraphicArtistsGuild Bookshelf 424 &BusinessTools Recommended Reading 426 WhyHaveContracts? 346 Useful Publications 427 Seven BasicTypesofContracts 347 IndustryDirectories 428 WhataContractShould Include 350 TalentDatabases 428 UsingContracts 355 Related Organizations 428 Negotiations 357 Merchandise Markets, 429 Shows,&Expositions BeforeCallinga Lawyer 359 SomeUsefulWebSites 430 WhentoCallaLawyer 360 Glossary 431 Glossary 362 All-PurposeIllustrators 366 LetterofAgreement Index 442 All-PurposePurchaseOrder 368 Artist-AgentAgreement 370 GraphicArtistsGuild 453 MembershipApplication ArtworkInventoryForm 372 Computer-GeneratedArt 373 JobOrderForm Computer-Generated 375 ArtInvoice Digital Media Invoice 377 GraphicDesigner'sEstimate 380 &ConfirmationForm GraphicDesigner'sInvoice 382 Illustrator'sEstimate& 384 Confirmation Form Illustrator'sInvoice 386 Illustrator'sReleaseFormforModels 388 LicensingAgreement(ShortForm) 389 LicensingAgreement(Long Form) 390 MagazinePurchaseOrderfor 393 Commissioned Illustration [vl Foreword Twenty years ago was working as the art I directorofawomen'sbusinessmagazinewhose ethic was, by and large, about success. gave I assignments to illustrators and photographers based upon a relatively limited budget. Understanding the need for a start-up publication saving money it might not yet have, we were all cautious. The artists I used mostly went along with this editorial policy, happy to have a nice printed piece. Naturally regretted I not being ableto pay on a higher scale. Then unfortunately my fiance became gravely ill, and I had to leave my job. The editors and the artassociatewere kind enough to offer me — aregularillustrationassignment asingle-page article requiring three orfourspot illustrations each time. The remuneration for this was $250.Evenattheinflationeconomyofthetime, itseemed likea lotofworkforthe money. Now knew both sides ofthe coin. I For the past 14 years I've been art director for Alfred A. Knopf Publishing. A different industry, still editorial, but similar in the way — the money works low fees but no glossy advertising supporting the pages. So far I've managed to increase the rates for jacket art and design, though it has been uphill and still has roomforimprovement.Whencorneredfor an answer on pricing, can always turn to the I Pricing&EthicalGuidelinesfor back-upforthe sake of the artist working away in the night hours. Tryto remember. Carol Devine Carson Vice PresidentandArtDirector The KnopfPublishing Group [ vi 1 President's Prologue The Perfect Accessory This 10th edition of the Graphic Artists Guild Handbook: Pricing & Ethical Guidelines encompasses the experience and wisdom of countless graphic arts professionals from all around the country. Over the years since its inception in 1973, it has emerged as the leading resource for people in the business of buying and selling illustration and design. It has become an indispensable tool for both buyers and sellers because of its unique editorial voice that respects both sides ofthe business equation. Where the Handbookhelpsfreelancersto betterruntheirstudios, ithelpsartanddesign buyers to better understand the needs and rights of the talented people with whom they seek to work. Together we can create better contracts and working conditions that value the creator's role, give credit where credit is due, and honor the creative process on both sides of the transaction. The stronger the freelance market and the more opportunities for artists and designers, the strongerthe position for all graphic artistswherevertheywork. Go into most bookstorestoday, and you find an array ofaccessoriesto enhance your reading experience, such as book lights, embroidered bookmarks, or even zip-up book covers to protect a paperback. If you are a designer, illustrator, or a professional in a related field, I want to suggest the perfect accessory for your new copy of the Handbook: membership in the Graphic Artists Guild. It supplements the Handbook in many ways, giving you a powerful activist platform from which to shapethe future ofthe visual communications industry. JoiningtheGuildprovidestheperfectopportunitytoprotectanddefendthemany aspects ofthe graphic arts community detailed in this book, and it also allows you to give back to the industry by strengthening and promoting it. You'll find, as so many others have, that Guild membership is not only the perfect accessorytothe Handbookbut alsothe perfect accessoryto yourworking life. Jonathan Combs NationalPresident [ vii 1 Producing the Handbook Revising the Graphic Artists Guild Handbook: Pricing & Ethical Guidelines is a massive undertaking that involves the coordination and input of dozens of volunteers and staff. Their expert contributions ensure that this new edition contains the most current and reliable information. The individuals and organizations listed here have donated their time and expertise to this project. Their participation is responsible for its continued success. The last edition sold morethan70,000copies—morethananyothersingleedition.Weexpectthe 10th edition to do even better. Special thanks are due to Paul Basista, the Graphic Artists Guild's Executive Directorfrom 1986to2000,whocontributed greatlytotheevolution and success ofthe past several editions. Under his skilled direction the book emerged as an industrybest-sellerandthestandardreferenceforgraphicartistsandtheirclients. Special thanks are also due to members of the Guild's Graphic Design Issues — Committee chairSusanne Murtha, Lauri Baram, Pete Friedrich, Sue Gutbezahl, — Hae Yuon Kim, and Susan Mathews and to DK Holland and Emily Ruth Cohen fortheircareful reviewofthe graphicdesign chapters (Chapters 1, 3, 6-8); Daniel Abraham, Esq., Leslie Ellen Harris, Esq., and Nancy Wolff, Esq. for reviewing Chapter 2, Legal Rights and Issues; to Jeff Yerkey for rewriting Chapter 8, Web Design and Other Digital Media Practices; to Mark Hurwitt for adding a section onAlternativeComicBookstoChapter 10,Cartooning PricesandTradeCustoms; to Tom Sito, President of Motion Picture Screen Cartoonists, Local 839, IATSE, for updating Chapter 11, Animation Prices and Trade Customs; to Zsuzsi Dahlquist of the Textile/Surface Design Department at the Fashion Institute of Technologyforsupervising the rewrite ofChapter 12, Surface Design Prices and TradeCustoms;toKateGodfreyand BudPeenforwritingthenewtextforChapter 13, Standard Contracts and Business Tools; and to Claudia Karabaic Sargentfor reviewing Chapter 13. Thanks are also due to Susan E. Davis, supervising editor and writer; Ali Karp, graphicdesigner;RichardMcGuire,coverillustrator;PatriciaMcKiernan,research and coordination; Eric Hirsch, Ph.D., statistician; Katherine G. Ness, copyeditor and proofreader; Sara Carrier of the Maine Proofreading Service, indexer; and SimmsTabackfor his continued guidance and assistance. Sara Love ProjectManager Publications Committee, GraphicArtists Guild I viii 1