Here’s another banjo pig for the dueling banjo pig site put together by a couple of friends of mine – Stacy Curtis and Guy Francis. Stacy won’t eat bacon but will eat sausage – Guy won’t eat any sausage but will partake of bacon – at least they have their principles. Guy says although he’s been oraly fixated on some pork products he’s never participated in a greased pig race – he says, “rubbing grease on a pig might be enjoyable but how do you think it makes the pig feel?…probably pretty good but that’s not the point.”
Visit their site and check out all the pigs – http://banjopigs.blogspot.com/
I ask this question because I wonder how many of us feel the burning desire to be creative and to take an idea from beginning to end? For me the creator in me may go dormant from time to time but he, she, it, whatever will always wake, tap me on the shoulder and say, “it’s time”. Sometimes it happens when I’m sleeping – other times when I’m day dreaming or when I see art that really does it for me.
This piece came to me while I was doodling the other day and even though I have paying projects that I need to be working on I really feel that it’s important not to let the burning desire to create be squelched by routine.
I carry my sketchbook with me where ever I go because I hate being caught in some boring situation twiddling my thumbs – which I’m not very good at anyway but my A.D.D. is so painful that I can’t stand not being able to entertain myself and inevitably I’ll think of something that I need to put down on paper and my thoughts begin to run together like this sentence if I don’t have something to record each one and so the birth of this piece came from one of those potentially boring situations.
I wanted to show part of my process here in how I refine my sketch before I begin the rendering. I’m going to be teaching my picture book class next week and part of the reason for this post is to give my students a reference for process.
Unlike using traditional paint I can zoom into the detail areas and work on shape much easier. Another technique artists use is to step back from their paintings so they can focus on the entire composition to check for design, contrast, emphasis, etc. With digital software you simply zoom out and you can do this so quickly that you’ll probably do it more often than if you actually had to get up out of the chair over and over again.
I feel so blessed to be able to create fun images for a living. I only hope that enough people enjoy them enough so I can continue to avoid having a real job. 
Albert Whitman asked me to write a little about my experience for their blog – here’s the link if you want to check it out: Albert Whitman
I painted this banjo playing pig awhile ago as it was all the rave. Mine is a simple little illustration that took about two hours. I drew the little pig with pencil, water colored and scribbled all over it with black ink once it was dry. it This is the one that I did and below I have added one that Will Terry did and another the world famous truck driver, James Freeman.
My good friend Guy Francis is one of the most talented artists in the world. And he is a lot of fun. He and our friend Stacy Curtis, another talented artist in the world, started a little duel. They started illustrating the Dueling Banjo Pigs. It didn’t take long before a lot of the other talented artists in the world wanted to join in. And that is what happened, they joined in and now there is an an going blog that is dedicated to the Duel with over 700 illustrations of pigs and banjos. And since it is on going, I am inviting you, yeah you, to join in on all the fun. So get your pig, and your banjo,posted on the famous Dueling Banjo Pigs blog.
Join in With your illustration of a banjo pig
It started out with a duel between friends. Guy Francis challenged fellow illustrator, Stacy Curtis, to a duel of banjo playing pigs. Now, other illustrators have joined the fun with banjo pigs of their own! We have more than 700 banjo pigs from countries all over the world!
Feel free to join in the fun, just illustrate your pig, don’t forget the banjo, and E-mail it to Stacy or Guy and they;ll post it on the blog, along with a link to your site or blog.
See what others have done at the Dueling Banjo Pigs blog.
Ok, I was a reluctant hold out to participate in Guy Francis and Stacy Curtis’s banjo pig deal. I mean cmon, what a rediculous idea right? Everyone knows pigs are better at playing guitar than banjo. If you haven’t already checked out their banjo pigs and all of the participating illustrators I say – why start now? ~Will Terry
When I was in third grade my best friend’s name was Craig Day. We were in Mrs. Nichols class and I had a crush on her and Craig and I were the teacher’s pets.
One day, Craig came over to my house and my dad and uncles were in the back yard butchering the deer they had killed during “the deer hunt”. (it used to be a pretty big to do in Utah, back in the day) They cut the feet off about a foot up the leg and they also cut off the heads of these beautiful but dead creatures. My uncle Val had bagged a doe, which was legal that year, and when he discarded the head, my friend Craig asked him if he could have it. My uncle said “sure” so Craig took it home. Craig’s mother had died, and he was the youngest of a lot of kids so I don’t think his dad even knew he brought the severed head home.
The following day in school, we had show and tell and Craig went up to the front of the class with a shoe box. When it got to his turn for show and tell, he opened the box and tilted it up so we could all see, and sure enough, there in the box, was a severed deer head. The eyes were all dark brown and starting to wrinkle for they were drying out and there was dried blood in the box and on a lot of the fur. Mrs. Nichols handled it so nonchalant and nobody even seemed freaked out by it. It wasn’t until years later that I even realized that it was a crazy thing to do.
About 3 years ago, Will Terry was doing a cute book project and the theme was Show and Tell at School, so he came up with this illustration. I love how he chose to use something so uncommon like a monster, or a deer head. I brought a snake once. I was in fourth grade and we were having show and tell and I happened to have a snake in my pocket that day. I was actually not going to tell anyone but show and tell happened to be that day and I couldn’t resist showing off my long little friend. Mrs. Covey, my teacher, was a lot more freaked out by that than Mrs. Nichols was with the deer head. Makes you want to illustrate children’s books doesn’t it.
You could make $0 to $2,000,000 per book. But realistically, I would say that you can make $10,000 to $20,000 per book or $30,000 to $80,000 a year. (that is not a guarantee)
Brandon, an artist in Australia posed this question
I’m a graphic designer for Disney and from Sydney Australia and I am looking to get into children’s picture books on the side and hopefully down the track I’ll be able to do it full time. And I am just curious how much money you can make. I’ve heard, about $10,000 per book and it takes about 2-3 months to illustrate one if you are doing it full time. And if you had guaranteed work lined up, that’s four books a year, that’s $40,000 a year. Not very much money at all!… I know you shouldn’t make based solely on money, you should do it because you love it, but… You got to feed the family… I currently earn $73,000 a year as a graphic designer, and there is no way I could afford to provide for my family on $40,000 a year. At least not down here in Australia, we get paid more but the cost of living is high, in fact $73,000 a year doesn’t really cut it and so I am looking for extra income. Brandon
Let me start by saying, I don’t know very many artists that are actually supporting their family on children’s book illustrations alone. There are a few BUT… Most artists, who are just illustrating children’s picture books, also have a spouse who is bringing home a paycheck too. I know a woman who is pretty successful at it and her husband works. I know a guy who is constantly busy doing picture books, and his wife is a full time teacher teaching school. And I know another and another who’s spouses work. Now maybe they COULD live off less and still GET BY on the illustrators wage but, cash is king.
I do know a husband and wife team who just do children’s books. We will address them a little later.
Let me tell you how my favorite illustrator here at FolioAcademy, Will Terry, supports his family. Due to an autoimmune disease, his sweet wife does not work, she can’t and Will is there for forced to support his family including his oldest son who also has that same disease. He certainly does not live off his picture book income alone, especially the advances. So let me tell you where his income comes from.
He gets other freelance work, from other markets; some of them are in the text book and educational market. Sometimes he is doing editorial and advertising illustrations. He does school visits from time to time, they pay pretty well for the time that you put in, and it’s fun, and exhausting. He speaks at conferences and at colleges, on occasion, that adds to his income. He teaches part time at UVU, he teaches online with Jake Parker at SVS, he makes money from his e-book sales and story apps, as well as money from his YouTube channel. He has video sales here at FolioAcademy and royalties from some of some of the past children’s books. So his income is coming from a lot of different spokes.
Seth Godin talks about it like spokes of a wheel, multiple streams of income. That’s what rounds out Will’s financial year.
Like most artists, Will couldn’t make it on the children’s picture book commissions alone. He would only make from $30,000 to $60,000 a year and that doesn’t cut it when you have doctor bills and a family to support. Last year he only did three picture books and while his advances are a little higher than that, but still.
Let’s talk about advances. An advance is what the publisher pays upfront. Your royalties go toward the advance and once your royalties add up to the amount they advanced you, you start making royalties. Advances vary. Will’s first children’s book advance was the lowest he has been advanced and it was only $1000. That is very low; he was in college at the time. Now the most I’ve ever really heard of for an advance for a beginner, on a picture book is from about $12,000 to $15,000, that’s on the high end. So $10,000 is a pretty good average for a mid to a large size publisher. And anything below that is poss with smaller publishers. The longer you’ve been in the game and more popular you seem to be you can make more. Will has had advances over $20,000. So that too is a possibility.
A lot of artists are supplementing their income with little readers and other less significant projects while they chase the dream on the side or they are just illustrating for hire and making it work with out really chasing the dream.
I think what keeps a lot of picture book artists going is, or what they dream and hope for, is to get on the New York Times, best seller list, or win a major award like the Caldecott. So let’s do a little “award” math.
We have a friend who teamed up with his wife and did a picture book together and it sold really well. It just happened to be the right thing at the right time, done right. Then they did sequels. That first book ended up selling somewhere around 800,000 copies. So do the math, if you are the author and the illustrator, like our friend and his wife were, and the book sales for $15, and you get a total of 10% royalty, which equals $1.50 per book and if 100,000 copies sell, you make $150,000! They sold 800,000 copies and that is a lot of money; roughly $1,500,000 for one book. SWEET! Not bad for 3 months work. I think that is a big reason why we keep the dream alive. I think the main reason we want a big award, (and there are over 200 of these big awards that you could win in the US and overseas, the Caldecott is just the coolest one to win) is because it would be way cool and the money sure comes in handy. It’s a lot like acting. Most actors are just scratching by and doing other things or low budget acting jobs to make ends meet. I am sure they still love acting but they have to be dreaming of the big break. They have that dream, they want to keep it alive, and they are probably happy to be able to make a living doing what they love. Like an artist or a writer.
Let’s do some Caldecott math. Something to daydream about while you should be working. The Caldecott is a domestic award, for Americans only but it is also the BIG GRAND DADDY of awards for picture book artists. It is supposed to be awarded solely for the illustration merit BUT, I’ve never seen one go to a book with a ‘not so great’ story, so I believe that the judges are swayed by the story too. ANY WAY, there are about 200,000 libraries in the US. All of these libraries know that when a book gets the Caldecott award, their patrons will want to check out that book. So every library in America will purchase a few, or more, copies of that book. I know that many will purchase ten copies. Let’s say they all buy 5 copies. So 200,000 libraries buy 5 copies each, if you are the illustrator and you only make 50 cents per book that is still $500,000 dollars. Plus, I know that librarians purchase about 3-5 copies of Will’s more popular books yearly just because they get lost or damaged. So if they continue to purchase that award winning book each year, they will be constantly buying new ones. If a book wins the Caldecott, it will stay in print from then on too. So libraries buy a ton but what about the other market, I.E. Families, individuals, teachers and people who collect Caldecott winners, and other award winners. Arizona State chooses a book every year and buys one for every 5th grader in the state. How many is that. Plus you have that on your resume’ and other publishers will pay you huge advances. Caldecott math in a nut shell, win that award and YOU HAVE MADE IT!
Remember there are around 200 awards that you could win, so it is possible. And today more than ever, you can make a living as an artist. Whether it be a fine artist, a musician, an illustrator, an abstract artist, or writer or dancer. With the internet and the millions of small businesses and dot coms that need script, text, performers, designers and artwork, there is money to be made and niches to be created and filled.
The only thing that will keep most artists in the dream is that possibility of really making it. But at the end of the day, if you get to do what you love to do, and you can make ends meet, you are successful. Publisher know that most books won’t earn out, which means, earn enough money to pay you the advance, which means you won’t be getting any royalties on top of the advance. Most just won’t, it is about a 7 or 9 to one chance that your book won’t earn out. Will Terry only has about 5-7 books that are earning any royalties right now. Publishers are publishing a lot of books, knowing that there is a big LUCK factor involved. They know that most books won’t go anywhere and they hope to publish a few that really do. They don’t even know which ones will succeed. So they are hedging their bets. They try to buy the best stories and hire the best artists and then cross their fingers and go on to the next one.
My advice is this, just do it as a dream, do it on the side, find time, make time, love it and just keep in keeping on. Like any successful business, there is a lot of hard work in the beginning. Just do the best book that you can do, the one that will make you the happiest. Don’t do it for the award that is a slim chance. Do it for you, do your best and move on. Some will fly, some will die and one or two may win that major award.
I hope I answered the question, how much can you make? The sky is the limit, but realistically, $30,000 to $60,000 a year.
The world famous artist, Will Terry, (he’s famous in my world) sketched this little tree house during a really boring meeting. I know I know, all meetings are boring to Will. To me too. But this one was really boring. Lucky he had his sketch book.
