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 pub-
lication 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
