When you received a commissioned work then which type of project details/instructions you generally receive from the client?
That is quite relative. There is not a standard for the briefings I receive. I totally depend on the client and on each work. Usually, I am contacted by the art directors who are interested in the style I already develop, and so I often have a relative freedom to develop the illustrations. Sometimes the work comes closed, with a defined idea, style, design and finishing, all well explained and with an illustrated layout. Sometimes the layout is so good that we don’t know what to do to overcome. There are also cases in which the idea is not 100% set. The art director calls us or sends us an email explaining what his thinking about and we are free to participate even in creation.
Can you share how to calculate the quote for the commissioned work, which things need to be remember so don’t give the shock to the client.
One of the bases for calculating our budget is for a set amount per hour worked. I think that’s a very simple method, as if each hour costs X and Y will take the illustration hours, the work will cost $ X * Y.
Although we have that base, that number ends up being just a reference, which can vary greatly depending on how much of our work will have exposure and the potential it will have to bring benefits to the customer who hired us.
Therefore, for every job we need to consider factors such as usage media in which the work will be transmitted (Internet, tv, magazines ...), period (6 months, 2 years ...) and territory (London, Brazil, Europe...). Depending on these factors the same job can cost much less or much more than the value obtained on the per hour basis multiplication.
Other factor to consider is the term we have to prepare for the job. Normally, when the client is very interested in working with us, but do not have much budget available, we try to negotiate an extra time, so that we can prepare his pieces in parallel with other jobs that will cover our costs. This sort of thing often happen on jobs ordered for personal portfolio in which it will be the agency or art director who is going too paid for the job.
How difficult is to paint the caricature and which things need to consider while painting?
Particularly I think the work with caricatures is quite hard. I know many great illustrators and cartoonists who say they can’t get it. In caricatures, subtle details make all the difference, both for good and for a poor result.
It’s hard to say what should be considered in a caricature. There are many different styles, from minimalistic to the hyper-realistic. I can speak more properly within my style, which is more to the realistic.
I have never studied techniques in books or thing sort, so I will speak based on my own experience.
I consider caricatures as a game of proportions and try and do them as if they were a tri-dimensional object.
I once saw an artist describing the process exactly like it is in my thought. He said caricatures are like air balloons. If you press down, it grows up. You change the shape, but keeping the volume.
In addition, I think we have many things to consider such as if the eyes are closer or distant, if her nose is big or small, and many other factors. But as I said, this set of proportions all relates. I can make a big nose by increasing it in relation to everything; however I can simply shrink the eyes and have a very similar feeling.
The fact is that I do not have a rigid method, and the first drawing will not always become a good caricature. It’s important to do a good job while searching for referrals. Often faces are very good to caricature in a particular angle but not in other... In this Rodrigo Minotauro caricature, for example, I ended up using a photo of his twin brother, they also fighter Rogério Minotauro, as the main reference of position and light. I wanted to make this work a more improved finishing and found that reference was a very good image. Obviously, I used many more Minotauro picture for the physiognomy.