Independent Cover Art – Part 2

Wow. The response to last week’s article on cover art was overwhelming. I received a ton of emails, facebook comments, retweets, private messages, and an invitation to join a Facebook cover artists’ group. (Thanks, guys!) I’m so glad the information I provided was helpful, and I enjoy hearing from you!

This week I wanted to talk about the process. The things I talk to a client about before the artwork project begins, and in fact, even before they hire me. When someone first contacts me, I reply via email and at the end of my note, I paste in my “process sheet.” It’s similar to one I developed for my freelance editing, but modified to include a worksheet I ask clients to fill out to help me understand what they want.

Update 2013: I’m no longer taking on cover design clients. My publishing schedule has gotten too demanding. =) Still, this article gives some ideas I hope you’ll find helpful when talking with your own cover designer.

So I’m going to share my process sheet below (with commentary in the yellow boxes) in the hope that when hiring a cover artist, you’re crystal clear about two things:

  • What you expect your cover artist to do for you
  • What your cover artist needs to provide you with the best possible image

My Process Sheet

Step by Step

I include this because it’s important to know up front how things will work. Many people have never hired an artist before, so I find it’s critical to set appropriate expectations. I also have learned that this makes clients feel more at ease–they always know whose “turn” it is, and aren’t left wondering what in the world I’m doing or what happens next.
  1. You let me know you want to schedule a project, and together we determine the timing, based on your book’s release date and my work load. A typical cover art drawing will take me about two weeks to complete.
  2. You email me the information in the ‘Worksheet’ sections below. The more detail you give me here, the more my artwork will align with your vision. Once I receive your design ideas, we will discuss it and come up with a general, verbal ‘sketch’ of the cover.
  3. 50% of the fee is due before work begins as a non-refundable deposit. Because the two payments would only be two weeks apart, you can also choose to pay the entire amount up front, if that’s easier for you.
  4. I send you a proof. (If the entire fee hasn’t been paid in advance, the proof will be watermarked.)
  5. You request tweaks and changes.
  6. I send you a final proof based on those requests.
  7. You send the remaining portion of the fee.
  8. I send final artwork without watermarks.

Expect to pay a non-refundable deposit or even the entire fee up front. This varies by artist, but deposits are the norm. I split the payment so the author feels secure that they aren’t going to lose their entire investment if they don’t like what I’ve produced (this has never happened, but it’s a worry I can sympathise with), but it also protects me from having my hard work stolen or my time wasted by a client who isn’t serious (again, refusal to pay has never happened to me, but I know it has happened to other graphic artists, so it’s good to protect us both). This is one reason it’s so important to check out your artists’ references by talking to previous clients and looking at their previous professional work.

What You Will Receive
The images I produce are digitally created, original, vector art drawings, custom designed and based around your descriptions and specifications. For a front-only cover (ebooks), I typically do a 5×8 proportion at 300dpi unless specifically requested to do otherwise. If you are producing a print copy and need a full wrap-around cover (front+spine+back), please send me the correctly sized template (based on final page count) from whichever printing service you choose. (In pdf, png, or psd format)

I have had authors make requests for other sizes here, and that’s fine. I’ve been asked for the layered png files, a copy of the artwork without words (so the author can create banners, etc) and that’s all been worked out with no problems. If you have special requirements, let your artist know up front! This can change how they structure their project, so you’ll save them time by being clear. 
Always ask your artist to work in 300 dpi (dots per inch). This will give you a very high resolution image and make sure that if you use the artwork on a print cover (which requires very high resolution) or you want to take a portion of the image for a banner, etc, you’ll always have something that looks good. (But again, be clear up front! They’ll need to know this when laying out the project, before they purchase any stock art and before they draw so much as one line.) When I send my final images to a client, I also include a “web version”, which is the same image in a lower resolution that is a smaller file size, perfect for sharing on the web.
Fees

Current typical* cover art rates:

$495 for ebook (front cover only) or $595 for print. (US dollars – Please Note: If you live in the European Union, I have to add VAT to this quote, regardless of whether you pay in dollars, pounds or euros.) *“Typical” would cover all the samples I’ve shown you – one or two characters, props, background, titling, etc. Only something that is extremely complex, such as a cast of thousands, would run more than that because it would take much more time.

I accept PayPal payments at **redacted**@indiadrummond.com. I can provide an invoice for tax purposes. I process all my freelance work through Coljam Consultants Ltd, a UK based consultancy firm.

Included in the price is two hours of my time to work on any tweaks and changes you request at this point. Changes like colours, moving characters around, resizing characters or titles, font changes, etc are typically small and will easily fit into that two-hour period. Any changes beyond that would cost $50 per hour, billed in half-hour increments. (This would very likely not be necessary if you simply ask for tweaks. Where this would come into play is for dramatic alterations like, “I’ve changed my mind and want the cover setting to be Paris instead of a beach” or perhaps if you ask for many rounds of tweaks and often change your mind about what you want.)

You will own the rights to the cover to use in any manner you choose.

Be sure you understand UP FRONT how much you’ll pay, how you’ll pay, if taxes will be added, what rights you have to the original artwork (and if your artist is using a stock photo, if the price of the stock image is included in the fee and who will be expected to buy it. If your artist is buying it, you need to make sure she obtains the appropriate rights to use it on a book cover.) Make sure you have a clear understanding about what kinds of changes you can request and what will be charged if you don’t like what you see on the proof. This is one reason it’s so critical that you and your artist have clear communication before the project begins. If you both understand your vision for the cover, you’re less likely to waste time or run up hourly rate fees.

The Worksheet

Part One

TITLE (as you want it to appear on the cover):

AUTHOR NAME (as you want it to appear on the cover):

BOOK GENRE (paranormal, erotic, mystery, etc – please list as many as are appropriate, so I’m more likely to get the feel you want):

BOOK SETTING (time period, location-if you have a specific setting you want for the cover, include that too. We can discuss ideas, if you like.):

TONE (comic or serious? if a romance, is it light and funny? sensual? erotic?):

Part Two

Do you have a particular vision for the cover? If so, please describe. I may not be able to be exact, but I will try to incorporate any important elements you want.

Part Three

Please give a complete description of the characters you want featured on the cover. (Feel free to include images, if you had any you used as ‘inspiration’ during the writing process. If you don’t have any, that’s fine. Note: I won’t copy pictures exactly, but if you have them, it would help me get a clear picture.) Your written descriptions should include personality traits. Is the heroine shy or brash? A sexy librarian type?
A girl-next-door? A powerful executive? How does she dress, etc.

Part Four

Are there any important objects or elements that you would like included as “props” in the drawing? (e.g. if a main character has a pet that’s important to the story, a magical talisman she always wears around her neck, a murder weapon, an item of clothing she particularly likes, etc.)

Part Five

Any text other than the title or author name you wish to appear on the cover, such as a tagline, review snippets, a star rating, something like: “From the bestselling author of X,” “A SeriesName Book” or any other text. If you want a print cover, please include the back-cover copy.

If your book is part of a series, ALWAYS let the artist know. If an existing series, show her the covers of previous books, so she can try to keep with the flavour of the others. If it’s a new series, that’s important too. Series books should always be coordinated on some level, so the reader can clearly identify titles that go together. Trust me on that one.
Final Note

Feel free to send me images of: other book covers you like (or don’t like!), objects, people, clipart… whatever you might include on an ‘inspiration board’ to help me see your vision of the book.

I never copy other artists’ work, others’ book covers, or try to make illustrations look like celebrities, because that would not be ethical. However, seeing covers you like really can help me get a feel for your personal style and tastes, and if you envisioned Meg Ryan when you created your main character, just knowing that can give me a glimpse into what you want to see. I can  use that information to formulate my work appropriately. Don’t be afraid to share your inspirations with your artist.

—-

So, this is the worksheet every client of mine gets just at the point of enquiry. I’ve had great success with it, and never had a client be dissatisfied with my work. I chalk that up to clear, open communication as much as to the quality of my work. You can have the most talented artist in the world, but if you aren’t clear about what you expect, and she isn’t clear about what she does, how much she charges, and how she works, you’ve upped the chances one of you won’t be happy with the process.

Because being an author is a lifetime prospect and not a one time event, you will form a long-term relationship with your artist, so start it out on the right foot. If you’re unsure, ask questions and remember that you can never give her too much information about what you want for your book cover.

Feel free to leave questions and comments, either here, on Facebook, via email…however you like! I always love hearing from authors, readers, and other artists.

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3 comments

  1. Once again, you’ve hit the nail on the head! I seriously value your thoughts and view points! I hope you write more on this soon!

  2. For someone who hasn’t ever been in the position to even begin to understand this process, this is like “cover-art-info-manna-from-heaven”. You are so awesome and this is soooo getting bookmarked for my future awareness.

    Thank you!!!

    [ Follow me on Twitter: ]

  3. I feel that if you find a cover designer whom you like and can work well with, you should stick with them. I have found one who’s done covers for both of my Angel ebooks and one for another YA fantasy I hope to get out in April. If you like someone’s work and feel you can afford to work with them, then go for it, esp if you believe that you can’t do your own covers, like me.

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