I have been asked a lot of questions over the years. These are the most common. Feel free to contact me with web design and illustration questions you don't see here. You can also check out my children's illustration blog for information on children's publishing. For more involved questions, please schedule a consultation. I’m available by phone, Zoom and most popular online platforms, or in person. I even consult by email if you prefer!

There are a lot of factors that affect the cost of a website. In general, basic websites start at $1000, but the best way to get an accurate price is to schedule time to tell me about what you're looking for. A lot of what I do is figuring out the best way to help people meet their goals—something unique to everyone. One person may want a website to help them increase sales and another may want a website solely as a means to explain a project. The approach to each goal is very different. I also take budgets into consideration when deciding the best design strategy and how much marketing needs to be done. The great thing about websites is they can grow with you and expanded at any time. Check my pricing page for more guidelines.

Thanks for asking, but the publishing world doesn't work like that. When a publisher invests in an author and acquires a manuscript, they have a vision for the book and will match an illustrator that fits best. One less thing for you to do! Join SCBWI and read my children's publishing blog for more information on the steps to take to submit to publishers.

Possibly. Here are some steps to take first:

  • Take a look at my illustrations and see if you think I'm a good fit.
  • Tell me about your project and I'll see if I think I'm a good fit.
  • Now tell me what you envision for your project — number of illustrations, how detailed, how big, etc. and if I still think I'm a good fit, I'll bid the job.
  • After carefully considering my bid and the options presented, you can decide if you still want me to illustrate your picture book.

On average from start to finish it takes me about 800 hours to illustrate a picture book in my style (depending on size, complexity and a number of other things). This includes research, character development, thumbnail sketches, storyboard roughs, dummy book, final sketches, final double page spread illustrations with full bleed, cover…plus revisions. It does take some cash to publish books, but if you have the time and money to invest in a fantastic project, the returns and satisfaction on this collaboration can be great. If you are unfamiliar with the picture book process, I encourage you to learn more from the Society of Children's Book Writers and Illustrators (SCBWI) or go to my blog on children's publishing.

Sounds ominous doesn't it? A kill fee ensures that I get paid for my time in the event that a project is cancelled by a client before it is finished. The fee is generally 50% of the total cost of the job and will be specified in your contract.

Not unless you ask for this and it says so on your licensing agreement. Before a licensing contract is signed, I will need to know all the intended uses for the illustration(s). If you need exclusive rights, make sure to let me know. Most illustrations are licensed more than once for different projects over the years. The license specifies when, where, how many times, and by whom the art can be used before a new agreement is necessary. For example, if you license an illustration to be used in the first edition of a book and later decide you want to use the same illustration in a second addition (or on t-shirts, etc.), you will need to sign a new agreement for each usage. Using a piece of art beyond the licensing agreement can cause serious problems for me and for others who have licensed the art for other purposes.

  • First – figure out what your project is, get clear on what you want and figure out all the parts and pieces you need like – final output requirements (size, color, black and white, etc.), how the art is being reproduced, whether you need multiple resolutions and sizes for different outputs. Going through this process will allow you to thoroughly think things out and will save time, money and frustration in the long run.
  • Next, decide what your budget and deadline are. This will help me know what type of work to produce to best meet your budget and expectations. I am very creative when it comes to meeting the parameters of a job combined with budget.
  • Then, contact me to discuss your web design, book or illustration project. After I know all the details, I will email you a quote with options and prices.
  • Once you approve the quote, I will send a contract with all the agreed upon details and deposit amount. Work begins after I receive the deposit.
  • I will create roughs which you will either approve or want revised. When you approve the roughs or revisions I will begin the final project. One round of revisions is included before the final art begins. Request for more than one set of major revisions will cost an additional amount which will be discussed before work continues.
  • The remainder of the job total is due upon completion of the job. On large jobs or long deadlines, one third of the cost is due upon beginning the job, one third is due after sketch approval and one third is due at completion. Otherwise the total is split in two.

Be as clear as possible with yourself on what you want first. Sit with it for a while if you're not sure. Try explaining it to a friend and see how it sounds out loud. You might notice some things need to be clarified. The more concise your words and examples are when explaining what you want, the better. I will also ask questions, clarify what I'm hearing you say, and when helpful — offer suggestions or clarifying examples of my own. After the job starts and I present ideas, you will have an opportunity to ask for revisions.

Rush fees apply when a job has a deadline that requires a faster than normal timeframe and a reshuffling of my schedule to accommodate it. A rush fee is a percentage of the total job fee. If your job is a rush, you will always know during bidding, before work begins.

Without limits, jobs can get off track and go on for way longer than they should. It is an industry standard to include one round of revisions to refine a composition, idea, or text to meet the parameters of the job description in the contract. Anything beyond that is billable. For example (and this really happened although the illustrations were different and you weren't involved) – Client B hires me to do an illustration of an aspen grove and I present sketches. Then they decide they want a tropical beach so I do sketches for that. Meanwhile you're waiting for me to start your job, but I can't start because Client B now wants an underwater poker game. I will never be able to meet your deadline and I'm not getting compensated for the extra work Client B wants because there are no limits. Although it is great fun to be creative and explore possibilities, I am running a business. Limits keep us all on track, focused on the process at hand, all deadlines are met, and I can pay my bills.

Contracts are an important way for each of us to know how things are going to work so we can minimize the possibility of misunderstandings along the way. You know what to expect from me and my work and I know what to expect from you. With all the details of the job taken care of, we can focus on the important part — the collaboration and the end product.

The Headfirst HTML book is a great way to get started. It's a fun book and you will learn by doing, which is the best way to learn code.