During the past months there has been a lot going on on my drawing boards and I participated in various fun and inspiring projects. Here is a collection with some brief descriptions.
In the current issue of Schweizer LandLiebe I contributed the illustration for an article about the wonders of the “Pinot Noir” grape. Wine lovers and experts Geny Hess and Elsbeth Hobmeier expand on their thoughts about this “diva”.
I was very pleased to be invited to draw regularily for future editions of Schweizer LandLiebe also.
T-Shirt Design for the US Wrestler John Hennigan
(AKA John Morrison / Johnny Impact / Johnny Nitro / Johnny Mundo)
Johnny contacted me a few weeks ago and asked me if I wanted to design another cool T-shirt for him. My response was a very quick and short “H**l Yeah!”. He gave me a rough outline of what he was looking for. As always one of his requirements was that it had to reach an 11 or more on the “Badass Scale”. I accepted the challenge and after a few variations we managed to get it just right.
Logos / CI / Icons / WordPress
Another wonderful challenge was the complete redesign of the logo, corporate identity and appearance of Breaksru Gmbh for owner Suzanne Ruf. This included the creation of a matching WordPress homepage.
The appearance and the overall feeling needed to represent a new beginning. Setting sail to new horizons. The lighthouse in the new company logo sends a strong and steady beam of light into the future and illuminates the path ahead. Illustrations and icons were designed to go hand in hand with this symbolism.
Attention to even the smallest details, is a very important aspect of how I approach my work. (Icon design as vector graphic in Adobe Illustrator CC 2019)
For over a year I have been working on my first graphic novel “Marvin”, a pictorial adaptation of the autobiography of the composer and musician Marvin Hamlisch. The book is currently getting the finishing touches and has an official release date with Schiffer Publishing of Spring 2020.
Many thanks to my literary agent Anna Olswanger for all her incredible work and her dedication which ensured the realization of this book.
Motion Graphics / Whiteboard Videos:
I had the pleasure of designing characters, backgrounds, assets and illustrations for a variety of “Knowledge Nugget” micro-learning videos for the United States Federal Acquisition Institute (FAI) in collaboration with the production company.
These videos are online and publicly viewable here.
Below a few more recent projects in a multitude of styles and media created for various clients.
For a personal invitation. The people surfing had to be recognizable and were drawn based on photographic reference material. The waves were roaring while I drew this and by the end I felt quite thirsty. 😃
Poster / Advertising:
Event Poster: VIN-TAGE 2019
Pic St. Loup (34) , France
Site Plan / Pictographs:
Residencial community with restaurant and pool facilities
South of France
Client: Parc le Duc
Media: Vector Design in Adobe Illustrator CC 2019
Mairie de Vacquières / Mayor’s Office
Restaurant Ô Mas’Troquet
Many thanks for your interest in my artwork. I wish you a lovely spring and would be very happy to hear from you. Now that my graphic novel is completed I am back at normal capacity again and available for new projects.
I invite you to drop by and say hello on my Instagram. The newsletter is only sent 4 times per year. I update my Instagram on a far more regular basis.
Johnny contacted me a few weeks ago and asked me if I felt like doing a new one for him and I of course said “Hell, yeah!”. He gave me a rough outline of what he was looking for. As always it needed to be an 11 or more on the “badass scale” and I was very happy to oblige.
Artist: Ian David Marsden Client: John Hennigan Media: Adobe Photoshop, Clip Studio Paint EX, Adobe Illustrator 2019
We went through several different variations. At one point we thought a biker style patch might be fun before we changed direction and ended up with riveted and bolted metal. A very fun project and I can’t wait to wear one of these myself.
Artwork from various projects and clients. All Rights Reserved. Displayed for self-promotional purposes under my terms and conditions.
I get a lot of requests for clip-art or stock-art images.
Although I am not a big fan of clipart myself, as I find it preferable if custom made and created artwork is used wherever possible, I do recognize that for certain cases it is more efficient and obviously there is also a cost factor involved.
For this reason I have made a selection of my artwork available as stock art.
These images are available via Fotofinder, mauritius images GmbH, dpa Picture Alliance, picturemaxx and the Kleinert Bildarchiv which is one of the largest image archives for cartoons and comics.
One of the best places to have an overview of all of the available premium stock illustration art and stock clipart by Ian David Marsden is here: https://bildarchiv.kleinert.de
Over 900 stock art images are available for licensing and download directly through the interface.
Business illustration – clean, clear, appealing, professional
Artist Ian David Marsden with decades of international experience in the field can provide you with custom-made business illustrations in various styles. Clean, clear, appealing and highly professional illustrations in black and white, with a spot color or fully colored. Text and processes which may seem rather dry or technical can be livened up and rendered more enjoyable and interesting. The readers’ focus can be guided towards important details in a subtle and appealing way. These illustrations can also be used as chapter headers, icons or thumbnails on websites or presentations. There is also the option of having animation or drawing or sliding hand effects, music and voiceover added as well.
Please contact me for a free consultation and a comprehensive flat-fee estimate which will include transferral of usage rights.
Wacom: Drawing Tutorial Videos on official Wacom homepage
Various drawing tutorial videos demonstrating how I work with Wacom Cintiq 21UX and Cintiq27QHD pen displays in Adobe Photoshop, Adobe Illustrator, Autodesk Sketchbook Pro, Manga Studio and other design software. More videos for Wacom are in production.
Rencontre avec Ian David Marsden,
créateur du logo de l’IBD 2017* qui se tiendra à Nice du 4 au 8 octobre 2017.
* L’IBD (International Board of Directors) est la réunion annuelle de la direction de Mensa international (cinq représentants élus) et des Présidents des 31 Mensa nationales. Il s’agit d’une réunion de travail de quatre jours durant lesquels les grandes orientations futures de Mensa sont discutées et votées. C’est également l’occasion d’un grand rassemblement de tous les Mensans du monde entier qui souhaitent s’associer à l’événement à travers un programme parallèle d’activités et la rencontre des “délégués” lors d’événements prestigieux comme la soirée de lancement de l’événement (ice breaker), le diner de gala, ou la soirée de clôture (Helsinky party).
Le choix du logo de l’IBD 2017 s’est fait sur concours que tu as gagné. Quelle a été ta réaction ?
J’ai été très heureux et très agréablement surpris pour être honnête. Surpris, parce que même si je suis un professionnel chevronné, le logo que je proposais était un peu insouciant et même humoristique. Par expérience, je savais que ce genre de logo n’était pas d’emblée choisi pour des événements plutôt « sérieux » comme l’IBD. Et puis, il y a une petite histoire drôle : dans le croquis initial, le petit bonhomme tenait un verre de vin rouge dans sa main gauche. Cela a finalement été retiré afin de ne pas offenser les visiteurs étrangers ou les gens qui voient l’alcool comme une chose n’ayant pas sa place dans les affichages publics.
Tu es dessinateur, illustrateur humoristique et designer. Quel a été ton parcours ?
J’ai toujours dessiné même tout petit. Mes parents m’ont acheté du papier et des crayons et bien sûr aussi un tas de BD au lieu des ballons de football ou autres jouets qui pourraient paraître plus habituel sur une liste de souhaits de petit garçon. À l’école primaire, j’ai écrit et dessiné un petit journal que j’ai vendu pour augmenter mon argent de poche. À l’âge de 15 ans, j’ai commencé à envoyer des dessins de cartoons aux journaux et magazines, et à l’âge de 16 ans, plusieurs d’entre eux ont été acceptés et achetés par le Nebelspalter, une revue suisse satirique très renommée (le plus ancien journal satirique d’Europe qui compte plus de 115 ans de publication). J’ai travaillé comme dessinateur tout en suivant une formation de graphiste. À l’âge de 18 ans, j’avais mon propre atelier dans le vieux quartier de Zurich. Je publiais régulièrement des dessins dans les grands journaux et magazines suisses et j’ai même écrit et dessiné, avec mes propres personnages, un segment d’une émission pour enfants de la télévision suisse. Des illustrations publicitaires et des bandes dessinées imprimées sur des canettes de Coca Cola ont suivi. À l’âge de 21 ans, je suis retourné à New York, ma ville natale, pour essayer de vendre des dessins au New Yorker et au fameux Mad Magazine, les deux magazines qui publient tant de mes idoles de dessinateurs. J’ai effectivement atteint ces deux objectifs de vie, mais seulement 10 ans plus tard, alors que je vivais à Santa Monica, en Californie. À 30 ans, j’ai repris des études d’animation (traditional animation and computer animation – 2D et 3D) à la célèbre Académie of Entertainment Technology, Santa Monica College. J’y ai aussi suivi une formation assez avancée dans les graphiques numériques. C’était l’époque où les graphiques numériques commençaient à atteindre un niveau suffisamment intéressant pour faire évoluer l’industrie.
Certaines de tes créations sont connues…
Oui, c’est vrai que dans mes 30 ans d’activité comme dessinateur et illustrateur/designer, il m’est arrivé de faire diverses choses qui sont sorties un peu de la norme. Ce qui me donne une sorte de légère notoriété un peu spéciale peut-être, en particulier parmi la foule numérique/technologie moderne, est que j’ai été le tout premier artiste à avoir dessiné pendant à peu près un an les Google Doodles, ces petits dessins qui se déroulent autour du logo Google. Après cela, j’ai aussi fait la conception et le design de la mascotte officielle du Championnat du monde de ski alpin FIS 2003 à St Moritz. J’ai aussi conçu des logos et couvertures pour La Toya Jackson, ce qui m’a permis de rencontrer toute sa famille, Michael Jackson inclus. J’ai été invité au ranch Neverland, mes petites filles ont tourné sur quelques-uns des manèges que Michael avait là-bas pour son amusement, et nous avons regardé un film dans son cinéma privé, nous trois, tous seuls. Comme je l’ai dit tout à l’heure, j’ai fait des BD qui ont été imprimées sur des canettes de Coca Cola, j’ai fait une série d’objets de design signés MARSDEN qui sont distribués par la célèbre maison de verrerie allemande Ritzenhoff …. bon… est-ce que ça suffit ? C’est assez connu tout ça ? (rires)
Parle-nous de ton aventure avec Google
C’était en 1999 et 2000. Google était encore une entreprise en croissance et personne ne savait qu’elle deviendrait le colosse qu’elle est aujourd’hui. Google m’a contacté sur la recommandation d’un collègue qui m’avait proposé comme candidat intéressant. Ils ont aimé mes échantillons et c’était parti. On a commencé avec le gag d’un poisson d’avril. Puis j’ai fait toute une série de dessins pendant un an et demi. Celui qui a été vraiment un grand succès et dont les gens se souviennent, c’est le petit kangourou de ma création qui faisait du sport autour du logo Google chaque jour pendant les Jeux olympiques d’été de Sydney en l’an 2000.
À cette époque, Google était tellement satisfait de mon travail et de mes idées qu’ils m’ont offert de venir travailler pour eux en tant que principal google designer. Pour cela, je devais déménager de Santa Monica à la Silicon Valley. Mais, je venais de commencer mes études d’animation à l’AET, j’avais une fille de 2 ans et la seconde en route et j’ai pensé qu’il était plus sûr de poursuivre ma carrière de dessinateur et d’illustrateur dans l’édition et les dessins animés de la télévision et du cinéma à Los Angeles. De plus, j’aimais vraiment beaucoup notre appartement situé à quelques centaines de mètres de la mer, nos promenades au pied de Santa Monica et sur la plage de Venice Beach. Je ne me voyais pas du tout dans la Silicone Valley en poste salarié dans une entreprise tech. J’avoue que je n’avais pas tout à fait vu ou compris le potentiel qu’il y avait à travailler pour un moteur de recherche sur Internet. Une décision qui probablement m’a coûté quelques dizaines de millions de dollars. On ne sait pas. Être Mensan ne veut pas dire qu’on ne peut pas être con aussi ! Mais je ne regrette rien et j’ai fait beaucoup d’autres choses amusantes et intéressantes après. Mais sans les dizaines de millions cependant !
Tu travailles en libéral ?
Un travail comme le mien n’existe pas vraiment sous le statut d’employé. Aussi, je travaille chez moi, dans un petit village entouré de vignes du sud de la France. Je fais mes propres heures, aucun patron ne regarde par-dessus mon épaule (je regarde mes propres épaules en fait !). J’ai la porte ouverte pour mes filles (maintenant il y en a trois, on a ajouté une petite qui est née à Montpellier.) C’est le bonheur, non ? Il est vrai que je ne sais pas encore sur quels projets je vais travailler dans trois mois ou dans un an, mais ça aussi c’est très excitant et rafraîchissant. Et j’ai pas mal de clients réguliers qui reviennent régulièrement pour m’embaucher. Ce n’est donc pas totalement kamikaze, ce que je fais !
Que conseillerais-tu aux personnes qui sont attirées par ce métier ?
Je leur conseillerais de ne pas perdre espoir, de ne jamais prendre un rejet à cœur et de rester fidèle à elles-mêmes. Essayer de vendre ses œuvres d’art peut donner l’impression de vendre un morceau de soi-même. Le rejet peut piquer doublement, car tout cela semble très personnel. Cela n’est jamais facile. Faites simplement votre truc.
Comment as-tu connu Mensa ?
À la fin des années 80 à New York, j’ai acheté un tas de livres de poche Mensa avec des quiz et autres énigmes (par Abby F. Salny, je crois). J’aimais les faire, ils semblaient logiques et la plupart du temps assez faciles. J’ai toujours aimé l’esprit des problèmes ludiques, les mystères de Sherlock Holmes et les romans policiers en général. En faisant des recherches, j’ai découvert où les gens de Mensa organisaient leur prochain test et je m’y suis inscrit. Je suis allé un samedi matin après une nuit très lourde et inattendue (une nuit blanche bien arrosée – j’avais 22 ans et j’étais célibataire à New York). De façon étonnante j’ai réussi le test malgré mon mal aux cheveux et voilà ! On y est toujours, 25 ans plus tard ! D’abord je suis entré à New York Mensa, puis à Mensa Suisse, puis à GLAAM (Greater Los Angeles Area Mensa) et finalement à Mensa France.
As-tu une dernière chose à dire ?
Merci de m’accorder cette interview et surtout merci d’avoir choisi mon logo pour l’IBD !
Custom Whiteboard Explainer Video Production for YOUR company
Created by an Experienced Internationally Published Illustrator and Cartoonist
Please contact me directly for a free consultation and quote. You can reach me on my mobile phone at +33 (0)6 42 49 82 11* or by e-mail at email@example.com
Who is Ian David Marsden?
I sold my first cartoons to a “real” magazine at age 16.
I have lived, studied and worked in Switzerland, France, The United States and Barbados (West Indies).
I have had the wonderful fortune of being able to choose my passion and make it my profession, managing to live from my artwork, and sustain my lovely wife and three daughters (plus a plethora of cats and dogs over the years).
There are a few projects I was involved in that stand out, but I probably derive the most ‘street cred’ – especially in the modern digital age – from the fact that I drew the very first Google Doodle, and then every single one after that for over a year back in 1999.
I have had the pleasure of working with many clients, editors, and publishers and I am undeniably a die-hard pro with a healthy amount of experience.
Here is a link to my biography page. It features a partial client list and some kind testimonials from people I had the pleasure of collaborating with.
What makes my videos so special? Why entrust me with your video?
Every video I create for my clients is hand-crafted and bespoke. They are made with care and precision but without the Savile Row price-tag.
No clip-art or stock art. No re-usable characters, faces, elements or scenery are ever used. Not a single line is created by scribing video software, as used by the many low-rent video mills that are sadly out there, churning out rather sad looking cookie cutter videos.Fee-wise I am somewhere in the middle of the field. Quality wise I deliver a very high standard with a unique and recognizable style.
My videos stand up to comparisons to the big production houses, but without the three-month waiting period and the five-digit price tag.
A very high production value with fair flat-rate pricing (no surprises with extra hours or overtime) is my goal.Right from the beginning, I can be of assistance to suggest clever, fun, amusing or unusual ideas – in case you aren’t set on a script or story yet. If you have a finished script, as I work on the storyboard artwork, I might have a few visual suggestions that could fit very well and enhance your written words.
Once a rough script has been approved, I create a rough storyboard/layout of the video, so that we can go over the scenes before any sound is recorded or any ink is spilled on final illustrations.
Needless to say during the entire production, you will be dealing and interacting with me personally, not assistants or members of my team.
Likewise, I guarantee that the final artwork, based on the approved storyboard, will be hand-drawn by me personally.
Are there others who are cheaper?
Absolutely and most definitely.
You can find somebody on sites like ‘Fiver’ who will make you a video for a few pennies. But that is precisely what they will look like as well.
I am in no way even trying to match up against such “competition”. They represent an entirely different market segment.
Just like an experienced tailor, carpenter or stone mason, what I would like to offer you, is a finely crafted and exclusive product at a fair price.
Hence I will also not enter into any bidding wars against other producers.
Let’s look at some samples!
Click the left or right arrows in the slideshow below
and then VIEW MORE to play the video you would like to watch
Or click on the YouTube Videos below.
Video Playlist: Ian David Marsden Whiteboard Videos
The World is not Flat – Max Curious Agency, New York City – October 2016
Playing / Growing – Max Curious Agency, New York City – October 2016
We Are What We Are – Max Curious Agency, New York City – October 2016
Digades (Germany) Dfreeeze Remote Control Car Heater App – 2015
Sens Digital, Montpellier, France – Click and Collect (French Language) – 2015
What art styles are available?
Many different styles can be used in a whiteboard video.
Even though the predominant style is a more loosely sketched black and white art style, often with a line quality that resembles markers or chalk, the line art can also be very clean and highly detailed.
Often a bit of color is added here or there: a company spot color perhaps and maybe some gray shading, but it can also be completely in color as well.
The video can be cute, funny or also very clean and business like, depending on your message and your target audience.
All kinds of animation styles are at your disposal.
There is, of course, the traditional “drawing hand” and also the “flat hand” that can slide elements in and out, move the whole image, and zoom in and out to add more to the artwork as it develops. Also, the hand can write titles or certain text passages from the voiceover to stress their importance or slide in speech bubbles.
Parts of the artwork can also just appear, fade in or “pop” in with a little wobble and a sound effect.
Once the drawings are in place they can also be individually animated just like in cartoon animation. For example, a character’s face can wink or smile. Hands and arms can move. Wheels on vehicles can spin, clouds can drift by. The sun can rise behind the skyline
To spill the beans on my production process, the hands you see in my videos are not actually my hands.
First of all, I am left-handed. Second of all, if we were to sit me down and film me drawing all of these drawings it would take a lot more time to produce.
The hands are added by a professional video studio in editing software such as Adobe After Effects. This is quite usual these days in whiteboard production and it also ensures that the artwork on the screen will look exactly like the artwork I presented to you for approval before we animate.
Side note:If you would like me to appear in person and draw something live at an event or if you would like it to be ME who is filmed while drawing, this can be arranged.
I am very capable of drawing in a real-time live environment and in front of audiences, with markers on whiteboards or paper behind or next to a speaker or digitally on computer tablets or pen displays that can be beamed onto a projection surface during an event.
This would entail a period of preproduction to elaborate the scenes for the presentation so that we are prepared and know how the presentation is supposed to unfold timing-wise. Costs would include travel expenses (business class), hotel and walking-around expenses as well as a day rate to be discussed.
The camera and lighting setup would also have to be organized by your team.
Idea / Script / Concept:
Sometimes my clients have a ready-to-go script and they just want me to illustrate what is written on the pages they send me.
Even if you have a finished script, as I work on the storyboard artwork, I might have a few visual suggestions that could fit very well and enhance your written words. Let me know if you would like me to be part of the content creation, or not.
Other times my clients know they want to produce a video. They realize what an amazing advantage it is to have a custom video that covers all the main points of the idea they want to convey to their audience in a fun, interesting and effective way, over and over again, on the web, at meetings, at exhibitions, fairs, trade-shows or lectures, without having to repeat it over and over again themselves.
They see the potential of having such an amazing tool but they simply don’t know how to condense the material or translate it to a visual language, simplify it and make it more approachable perhaps, and yes maybe add a little bit of light humor or some visual gags to make the presentation more enjoyable.
This is no problem at all. I am very used to it and I consider it part of my “job”.
We begin with an initial (free) consultation on the phone or a video conference on Skype or Facetime, during which you will brief me on what you envision. We might even bounce some ideas around right then and there.
I will then commence a first concept draft with a few highlighting scribbles of how the visuals might unfold. This may be revised several times until we reach a version we like.
Once we are happy with the script, I will create a scene by scene storyboard.
Sound / Voiceover:
I generally recommend having a musical soundtrack in the background that reflects the mood of the presentation.
It makes the unfolding story even more fun and easy to watch and it goes hand-in-hand with the unfolding drawings and animation.
Your music will be purchased by you directly from Royalty Free music websites who offer large libraries of music to choose from. The license will be in your name so you/your company have licensed the rights.
I can present you with a selection of music that I think would be a good fit, or else if you already have music in mind you can go ahead and license it and provide us with the track you have selected.
Bear in mind it needs to be either a repeating loop or else it must have the right length to match the video.
You can choose voice actors and record the voice-over yourself and provide me with the audio track files which the video needs to be matched to, or else I can also offer you the full voice production as part of my flat rate package.
Speakers can be male or female, represent different age groups and can be provided in many languages. One thing to bear in mind is that we can easily produce the same video in several languages for you at the same time. For any voice recording, you must provide a DEFINITIVE script in the chosen language(s), which you have approved and of which you are certain that it is an accurate translation or representation of what you want to convey in the video. I cannot be responsible for translation mistakes or errors in the voice-tracks that stem from the original script.
The voiceover will be recorded according to approved scripts and any changes made after the recording would be considered additional work.
Unlimited worldwide usage rights for the video are included in my quoted fee. Unlimited worldwide usage rights for my artwork in the video as part of the video are also included. This means you can show the video as many times as you want, anywhere you want, on your website, on YouTube, the Internet in general, Television, Cinemas, Congresses, Fair- or Tradeshows. On as many screens as you like.
Is it possible to use the artwork or characters from the videos as a whole or in part as still images* (*other than thumbnail images of scenes from the video) on the web, in print, in advertising campaigns, in packaging or merchandising?
Yes, absolutely, this is possible. However, such usage rights are NOT included in my flat rate fee for video production and need to be negotiated and agreed to separately. Please let me know what you have in mind and I will gladly give you a quote. For such uses, I will also provide you with high resolution or vector artwork which is geared specifically for print purposes and is scaled to the dimensions required.
What are the usual production steps of a Whiteboard Video?
These are the usual phases of production, in the order in which they are completed.
Step 1: Idea / Concept / Storyboard
Development of the story together with the client, brainstorming, ideas / concept phase, writing the definitive dialogue and animation script (what is happening, when is it happening), sketches / scribbles / layout, creating a storyboard in the form of pencil sketches matching the written dialogue and showing the rough look and placement of the artwork.
Two (2) revision phases of the scribbles / storyboard according to customer feedback as needed are included.
The script is definitive after written approval by the customer and cannot be changed after phase 1.
Step 2: Final artwork
During this production phase, I create all the final artwork (inking, coloring if applicable) of all the scenes that were approved by the client at the end of Phase 1.
One (1) revision phase of final art is included if anything is missing or was overlooked. In most cases, this is not necessary as the artwork will always reflect exactly what the layout/storyboard art showed.
This artwork will now go to animation and cannot be changed after client approval.
Step 3: Music Choice and Voice Recording
Selection and approval of a “voice” by the client. Sound recording of the approved script/dialogue from Phase 1 in all the languages required.
One (1) Revision or re-recording is included in case there are certain passages that need to be corrected.
Step 4: Video Production and Animation
The video goes into the animation studio, where the hand drawing and sliding animation and other animation effects are created to the precise shooting script and matching the voiceover.
Effects, titles, credits, and logos can also be added as required. Output as HD Video in 1920 x 1080.
One (1) Revision phase is included in case anything needs to be corrected.
Step 5: “And the Oscar goes to…”
Your video is ready to be presented to the world.
Please contact me directly for a free consultation and quote.
You can reach me on my mobile phone at +33 (0)6 42 49 82 11* or by e-mail at firstname.lastname@example.org
I very much look forward to discussing your project with you further.
* I am based in southern France, so I am on Central European time. I regularly work with international clients including
on both coasts of the United States and the time-difference has never been an issue.
Below you will find some more FAQ you might find interesting:
The Illustrator acknowledges that during the course of completing the Job and creating the Designs, Illustrator will have access to and become acquainted with various product concepts, trade secrets, inventions, innovations, processes, information, records, specifications and other Confidential Information (as defined in the NDA) owned or licensed by Client. Illustrator agrees that he will not disclose any Confidential Information, directly or indirectly, or use any Confidential Information in any manner, either during the term of this Agreement or at any time thereafter, except as required in the course of this engagement with Client.
How long does a video production normally take?
I can only give you an accurate timing estimate when I know how many scenes the video contains, how many illustrations there are in each scene, how complicated the illustrations are and how long the video will be (a rule of thumb : one page of written script is usually equivalent to one minute of dialogue).
It also depends on the timely response and feedback of the client during each phase and how many revision phases there are.
Nevertheless, I can give you this rough estimate based on my previous experience:
Phase 1: Idea / Concept / Storyboard – with revisions = 2 – 5 working days Phase 2: Final artwork – with revisions = 2 – 10 working days Phase 3: Music Choice and Voice Recording = 1 – 3 working days Phase 4: Video Production and Animation = 3 – 6 working days
Can’t we speed this up a bit? We are in a terrible hurry.
Yes, it is possible to accelerate the entire production. I have previously created whole videos from A to Z in one week.
Cost wise there would be an applicable rush job factor of x 1.5 for night work and a factor of x 2 for weekend work.
If you mention the short deadline at the start I will give you a flat rate estimate that will include the rush job.
All dates and time schedules are contingent upon prompt project commencement and timely Client’s input as required. If the client does not get back to the illustrator with required feedback, information or approvals in a timely manner, the deadline will need to be modified or adjusted.
What is the cost of a video?
Here again I cannot give you a precise estimate until I know how many scenes the video contains, how many illustrations there are in each scene, how complicated the illustrations are and how long the video will be in general as well as some other factors like how many voice actors are there, how many languages are we recording, how many different video cuts need to be made?
Please contact me for a free consultation and I will send you a precise and binding estimate
Billing and Invoicing information:
The fee is invoiced in two halves. Payable by bank transfer or PayPal.
50% upon signing of the contract and
50% upon delivery of the finished artwork.
Final payment is always due on delivery of the final artwork. The Illustrator will deliver low-resolution JPEGs of the artwork / low-resolution videos on completion for Client’s final approval.
Once final payment has cleared in the Illustrator’s account, the Illustrator will e-mail a link where the Client can download the high-resolution artwork, videos and all files and assets as agreed to and outlined in the project estimate / contract.
Please be aware that the Illustrator is an independent, self-employed artist and does NOT invoice on a 30 day, 60 day or 90 day payment basis.
The grant of any license or usage rights is conditioned on receipt of full payment.
A 2% monthly service charge will be billed for late payment.
The first 50% becomes non-refundable when Phase 1 Storyboard, Sketches, and Layouts have been completed.
Grant of Rights
The transfer of usage rights and/or the grant of any reproduction rights as listed in the estimate / contract are conditioned on receipt of full payment.
Revisions / Changes
Revisions not due to the fault of the Illustrator shall be billed separately. The Illustrator reserves the right to adjust the rates of the project should the scope of the job or amount of work to be done be increased significantly. 2 Revision phases are included in the sketching phase, 1 revision phase if needed is included in the final art phase and the video production phase. Any revisions beyond these will be billed at a rate of 100 Euro per hour or part thereof.
If the Client changes the brief and requires subsequent changes, additions or variations which substantially change the nature of the commission or brief as outlined in the estimate, this will be considered a new project and is subject to a new separate estimate. Fees applied to the original project will not be applied to the new project.
I just uploaded a selection of recent sketches and pen and ink artwork to my sketchbook gallery.
I hope you enjoy them. These are all created with pen and ink, ballpoint pen, pencils and other traditional methods. I do sometimes scan them and color them in photoshop, but most of these are also colored with watercolor, ecoline and aquarelle / goache.
These are all just fun, free drawings that I like to do sometimes to relax and clear my mind. These were not commissioned. Often I don’t even know what it will be when I start drawing.
I guess since I am working in digital art programs with my Wacom Cintiq most of the time, these little exercises also s to show myself that I still know how to do it “old-school”. 😊
Please don’t forget that I also have an Instagram channel which I update almost daily with new doodles, sketches and drawing videos.
“Sergei turned to marketing manager Susan Wojcicki, who found illustrator Ian Marsden and put him to work.
In May 2000, Ian created the first Google doodle. It featured—surprise, surprise—aliens making off with our logo.”