HOME | DD
SeanE — Greed is good
Published: 2013-12-11 02:57:11 +0000 UTC; Views: 2297; Favourites: 12; Downloads: 0
Redirect to original
Description
body div#devskin10685214 .gr1 { display:none; } body div#devskin10685214 .gr2 { display:none; } body div#devskin10685214 .gr3 { display:none; } body div#devskin10685214 .tri { display:none; } body div#devskin10685214 .gr-box { background-color:#EEE; border-left:10px solid #DDD; border-right:10px solid #DDD; margin:0; } body div#devskin10685214 .gr { background-color:transparent; border:none; } body div#devskin10685214 .gr-top { border:none; background:url('https://fc04.deviantart.net/fs70/o/2010/300/d/0/184140448_155715_fella-2.png') 0px 10px no-repeat transparent; height:150px; z-index:10; } body div#devskin10685214 .gr-top h2 { font-family:Georgia, 'Times new Roman', serif; font-size:20px; color:#617b68; text-shadow:1px 1px 2px #DDD; background-color:white; border-radius:10px; -moz-border-radius:10px; -webkit-border-radius:10px; border-radius:10px; -moz-border-radius:10px; -webkit-border-radius:10px; border-radius:10px; -moz-border-radius:10px; -webkit-border-radius:10px; padding:10px; position:relative; top:45px; left:125px; max-width:250px; box-shadow:2px 2px 3px #DDD; -moz-box-shadow:2px 2px 3px #DDD; -webkit-box-shadow:2px 2px 3px #DDD; text-align:center; } body div#devskin10685214 .gr-top h2 img { display:none; } body div#devskin10685214 .gr-top span { background-color:transparent; display:block; position:relative; left:230px; top:50px; font-family:Arial, Verdana, sans-serif; font-size:13px; font-variant:small-caps; color:#617b68; text-shadow:1px 1px 1px white; } body div#devskin10685214 .gr-body { z-index:9; margin-top:-32px; border:none; background-color:transparent; } body div#devskin10685214 .text { background-color:white; border-radius:10px; -moz-border-radius:10px; -webkit-border-radius:10px; border-radius:10px; -moz-border-radius:10px; -webkit-border-radius:10px; border-radius:10px; -moz-border-radius:10px; -webkit-border-radius:10px; box-shadow:0 0 10px #DDD; -moz-box-shadow:0 0 10px #DDD; -webkit-box-shadow:0 0 10px #DDD; box-shadow:0 0 10px #DDD; -moz-box-shadow:0 0 10px #DDD; -webkit-box-shadow:0 0 10px #DDD; box-shadow:0 0 10px #DDD; -moz-box-shadow:0 0 10px #DDD; -webkit-box-shadow:0 0 10px #DDD; border:1px solid #CCC; padding:35px 20px 20px 20px; font-family:Arial, sans-serif; font-size:12px; letter-spacing:0.05em; line-height:18px; color:#475c4d; margin:15px; } body div#devskin10685214 .text a { color:#333; text-decoration:none; background-color:#F6F6F6; } body div#devskin10685214 .text a:hover { text-decoration:underline; } body div#devskin10685214 .heading { font-family:'Arial Black', Arial, sans-serif; font-size:18px; letter-spacing:-0.05em; color:#617b68; margin-top:20px; margin-bottom:-10px; text-shadow:2px 2px 3px #EEE; } body div#devskin10685214 ul { margin:5px 0; } body div#devskin10685214 ul br { display:none; } body div#devskin10685214 ol { margin:5px 0; } body div#devskin10685214 ol br { display:none; } body div#devskin10685214 blockquote { border-top:2px solid #333; border-bottom:2px solid #333; background-color:#F9F9F9; padding:5px 10px; margin:5px; } body div#devskin10685214 blockquote a { background-color:#EEE !important; } body div#devskin10685214 .signature { text-align:right; background:url('https://fc00.deviantart.net/fs70/o/2010/300/9/e/184140448_155716_signature.png') 0px 10px no-repeat; font-family:Georgia, 'Times new Roman', sans-serif; font-size:15px; padding-left:27px; display:inline; float:right; color:black; margin-top:15px; font-style:italic; } body div#devskin10685214 .bottom { background:url('https://fc03.deviantart.net/fs71/o/2010/300/c/e/184140448_155717_bg-bottom-2.png') 20px 0px no-repeat transparent; clear:both; height:53px; margin:15px 0 auto; padding:26px 26px 0; } body div#devskin10685214 .bottom .hsep { display:none; } body div#devskin10685214 .bottom .a { color:#DDD; text-shadow:1px 1px 1px black; } body div#devskin10685214 .bottom .commentslink { float:left; margin-left:25px; } body div#devskin10685214 .bottom .prevlink { float:left; margin-left:125px; } body div#devskin10685214 .list { display:none; }
Anyone who's worked freelance knows that one of the hardest things to do is decide on a suitable rate for your efforts and time. It doesn't help things when what you might consider a good rate would be regarded as a pittance in one country but enough to live like a king for a month in another.
The way I've always seen it is like this. If you can get more per hour flipping burgers at the local Macdonalds, then that's what you should be doing. That's your baseline. After this it depends on what you think your time is worth and add on accordingly. Of course, that's not what the client thinks you're worth, which is going to be peanuts, but then thats the fight that all of us face in order to convince them otherwise...! You're on your own in that one I'm afraid...!
I'll open up and state what I get paid from Zenescope for colouring covers for them. It's $US120.00 a shot regardless of the lineart complexity. They initially offered me $US80.00 a pop but I negotiated upwards to something I was happier with. It means that foreign currency exchange and bank fees are factored in and while I inevitably still lose a bit with the Australian dollar being so strong against the US dollar its not too great a loss. It helps that I don't rely on this money for a living but is merely an added income to my regular day job of being a teacher, so I'm not desperate for the money. (That also means I'm not inclined to work for less however!)
At first I thought the Zenescope money was too little for the work. But I found that's because I was putting too much effort and detail into things. Stuff that wasn't necessarily visible in the final print anyway, so it was all for nothing. Over time I've streamlined my process, something which was aided by Zenescope getting the the lineart to me late on several occasions forcing me to do 5 nights easy paced work in 2 somewhat hectic nights and so on. Plus the lineart detail varies from month to month. Some are more complicated while others are done in an hour or so! So it all evens out in the end.
Other freelance work I might charge more or less for. If it's for a con print in which you can print as many as you like and sell them over the course of a few years, it'll be more. If you're a friend and we've had a good relationship, it might be less. It all depends.
So, that's my opinion... The' clients from hell' website have a piece on this topic which I'll paste below. Worth a read as well IMO...
*****************************************||***********************************************
From clientsfromhell.net
How to Raise Rates
A freelancer should be aware of what they're worth and how their rates are working for them. There are a lot of factors to consider - too many for this article alone - but the act of talking to clients about a raise doesn't need to be complicated. Here's how to handle it.
Every freelancer will charge too little at some point in their career. What you charged starting out should not be what you charge years down the line. You have more experience, more skill, and as a result of these two things, you can likely work a lot faster, too. Simply put, a freelancer only becomes more valuable over time, and recognizing this is important.
Competing on price and price alone is a pointless battle. Clients will often claim that they can get a man in Malaysia at one-tenth your price point, or that there's a fresh-faced kid who's hungry for your work. They're not wrong, but they are short-sighted. That kid might charge a quarter your hourly rate, but chances are it will take them four times as long, too. Plus, the lack of expertise or experience will be a hindrance that's rarely included in a cheap price point. There are a lot of factors that justify what you charge, and neither you nor your client should overlook them.
Your rates may impact how a client thinks of you. If you are charging significantly less than your colleagues, the question of 'why' may arise in a client's mind. You may reek of desperation or a lack of professionalism. Conversely, higher rates indicate a honed skillset and years of experience. Regardless, being able to justify your price point is important. Even if you're offering a low-rate to combat some last-second expenses, communicating this to your client is important.
Talking to your client about new rates is a matter of preparation. Most importantly, you need to be able to justify yourself. You need to know when other people are charging in your field and what the overall demand is. You need to know what how much money you need to be making to survive (which is a cost that will likely rise as you get older), and you need to be prepared for questions the client will ask.
Finding clients can be rough, but finding worthwhile freelancers isn't easy either. The important thing is to recognize your worth and to make sure your client does too. If you're professional, polite, and your work arrives on time, a client will not want to let you go. The thought of having to hire some unknown is often enough to get clients to cough up a few extra dollars.
"No" shouldn't even be an option. This may seem like hard-line advice, but it's true. If you've done your research and you've assessed that, yes, you're not getting paid enough, then you need to practice what you're preaching. If a client simply won't or can't pay higher rates (and you want to keep working with them), talk about scaling back responsibilities or other forms of recompense. Negotiation is fine, but you got to this point because the status quo needed to change; don't forget that.
As with most things in freelancing, you need to look out for your best interests when it comes to pay. Only the most heavenly of clients will broach the topic of unfair rates, and only the most fictitious will outright exceed your asking price. Take care of yourself, and don't forget that you're worth something.
*******************************************||*************************************************
Cheers
Sean
Related content
Comments: 13
This reminds me of a time when my father's former client switched services for grain hauling. He told my dad he found someone who's rate was about half his. There was a pause before my father asked him if he was charged by loaded miles or running miles. Turns out the guy charged the rate for the round trip where as my father's rate was only for the delivery. The total price ended up the same.
👍: 0 ⏩: 0
$120?! That's fucking outrageous. For a big company they should be paying you more.
👍: 0 ⏩: 1
Well if people would like to share what they get, either here or privately via note.... That'd be nice...
👍: 0 ⏩: 2
I get paid for commission work which I give rates beforehand. It all depends on the piece. I'm working on a book, I can't say what it is or who for just yet but I'm getting $100 per page (that's 22 pages per issue) which is pretty good.
I think you deserve more, you're amazing at colours.
👍: 0 ⏩: 1
$100 per page is more than marvel et al.... That's a sweet deal
👍: 0 ⏩: 1
Well, I can tell you from my experience, Zenescope pay more than IDW, Boom, Dynamite, DC and most Image titles. Standard, non negotiable fee offered from most clients is $50pp (covers included), and I've lost 90% of the work i'm offered as I turned that down, I will not go below $65 unless its a fast page turnaround on my part, or the story is worth investing in as a creator owned gig!
Zenescope is the best money i've seen outside of commercial work, hands down (they beat my 1 Marvel cover gig, and my DC pages easily)! My best rates so far to date, are usually single character, toy promotion stuff, no bg, at a pricepoint of usually $200 each (takes about an hour in general too). I once had a week of getting about 6 of these toy packaging things, cleared $1200 in less that 2 days... result! But that rare to get such consistency from commercial work for me.
👍: 0 ⏩: 1
Best one off I ever had was $200.00 but those Lighthammerfx guys (see my gallery) paid me $850 for all 5 which came in at $Aus900+ on the exchange at the time so that was nice. Best sequential work I got was a 16 page mini comic for a CD cover insert which I'd say was the equivalent of about 4 normal pages IMO. I got $1400 for that which shows some people have more money than sense... Plus the final pages were never published as far as I know!
But it's nice to know Zenescope is paying a decent rate that's above the norm after all!
👍: 0 ⏩: 0
That is helpful. I think most of my fears is thinking that my work and my time is worth something. But looking at what you shared I'll simply break down what I would get from my day job and go from there, as to what I would make in per hour in an 8 hour period.
👍: 0 ⏩: 0
This is something I've struggled with a LOT over the past couple years. My rates from two years ago just aren't enough these days, but the problem I have is not being able to be objective in judging the value of my work. I've tried what you said "You need to know when other people are charging in your field" but the rates vary so drastically (even among similar skill levels) that it just confuses me as to what *I* should be charging.
👍: 0 ⏩: 0
A very solid breakdown here.
I'd love to add one of my own favorite lessons I learned; you're not getting hired for your work, you're getting hired for your time. As soon as money and deadlines come into the mix, the notion of "grinding until it matches my lofty standards" goes out the window. Sure, when appraising work, you can give a value that you personally think it would require to make the image comparable to the others in your gallery. If they agree to that rate, then yay, high five all around!
But if they try cutting you short and are unwilling to budge from their own rate, give them what they pay for. If they just want to pay one third, spend only one third of the time. Heck, you might astonish yourself with what you can accomplish in much lesser time, Lord knows I have. But if the image comes out looking a bit cheap, looking rushed, well...is the client really going to blame you for only paying a fraction of what you the seasoned professional (who has years of first-hand experience knowing just how much work goes into this stuff) said it should cost? I'd sure hope not, but hey, even if they did make their frugal stubbornness the artist's fault, it's still a win for the artist because that's somebody they don't want a long-term professional relationship with anyway.
For the record (in case any of my clients happen to chance upon this comment) I love all my clients and I'm glad that years of consistent work with them has made price negotiations such a minor detail.
👍: 0 ⏩: 1
