Private commissions: Another string for your creative bow?

They’re a good earner and can enhance your creativity. We talked to five illustrators and designers who take on private commissions about the pros, the cons, and what it does for their careers.

When it seems as though the economy needs a psychiatrist, and AI is making life even more precarious for creatives, one way of bolstering your income is by taking private commissions.

It’s not a new idea. The Renaissance may never have happened without the patronage of private individuals. But in today’s world, it’s something illustrators and designers are increasingly turning to.

Diversifying in this way helps reduce your exposure to the kind of economic shocks we’re witnessing as this very article is being typed. By building up a network of private contacts, you’ll have something to fall back on when commercial clients – brands, agencies, even local companies – reduce their budgets.

This is the sort of work AI just can’t replace. A private client will come to you because they truly value your creativity. To them, what you do is more than just technical wizardry, and unlike some commercial clients, they’re less likely to treat you as just another service provider.

Creatives who take private commissions say it can account for anywhere between five and 30 per cent of their income. But the benefits are more than monetary. Working on private commissions can take your creativity to a different level. There’s every chance you’ll be able to apply techniques and express ideas that would never fly with most commercial clients.

Let’s find out about the experiences of some illustrators and designers working in different media and at varying stages in their careers in this area.

Rose O’Mahony

By day, Rose O’Mahony is a senior brand and packaging designer who spends 80 per cent of her time working on screen. However, her love of type and letterforms led her to develop her skills as a calligrapher. In her spare time, she developed a sideline for creating bespoke wedding stationery and signage.

The skills she’s learned as a calligrapher feed into her work in packaging, and after hours, she enjoys a much more tactile form of creativity, which earns her some extra income. At the moment, Rose has two young children, so her calligraphy practice is only around five per cent of her income, but at one time, it was more like 30.

“I love doing them by hand; it’s the reason I do it,” says Rose. “I love the craft, the time, the skill, the history it has. It’s something that makes me really happy, along with seeing the client’s reaction.”

Ironically, the hand-drawn nature of the work is also its downside. It’s time-consuming, and last-minute changes are difficult to manage.

Rose’s top tip: “This is really practical, but if you have a commercial job, check your contract. There may be rules in place regarding private work. Also, double-check with your employer to ensure that they’re OK with you doing it.”

Sretan Bor

Like Rosemary, Sretan Bor is a digital illustrator who spends most of his time sitting at his computer. Therefore, he loves it when a private commission for a wall mural comes in. He gets to plan everything, go to the hardware store, travel to new places, and then scale the ladders as he adorns the surface with his colourful, detailed imagery.

Originally from Croatia, Sretan relocated to Paris, where his regular illustration practice thrives, but there are fewer opportunities for his private commission work. At one time, creating murals for private clients constituted 10 to 20 per cent of his income, and he charged between €150 and €300 per square metre.

“It happened organically,” he says. I was painting outdoor murals for commercial clients, and people started inviting me into their homes to paint their interiors, or I’d get recommendations from friends. Now that I’m in Paris, I need to find a way to get this work in front of people.”

For Sretan, the downside of private wall murals is the preparation—particularly the intricacies of setting up a projector so that he can trace the planned outline of the image onto the wall.

Sretan’s top tip: “You need to figure out what you can offer and how can that be translated into something similar, but still a bit different each time. What will the client’s experience be like in that situation, and how can you make it worthwhile for them?”

David Cousens

Based in Wiltshire, David Cousens is an experienced cartoonist, illustrator and author who works for a range of publishing houses and entertainment brands. He has created the cover and interior artwork for a range of comic books, and in the world of comics, there’s often demand for bespoke pieces by the penciller.

“I got into private commissions from the outset of my career,” says David. “Once I started sharing my art online, friends and local businesses would get in touch, and it’s never stopped. One of my first private commissions was printed in a magazine, which led to a book contract that kicked off my career.”

Even as he responds to our questions, David is working on a piece featuring stalk-eyed flies. His fees vary from £150 to £750 per artwork, depending on the media used and whether a printed version of the final image is requested.

“When people commission me privately, I make sure they’re more frequently updated than I would do with commercial work,” he days. “I like to keep the client involved so that they feel like a part of the process, rather than just the person who paid for it because, without them, the art would never have existed.”

David’s top tip: “Make the work that you’d like to be hired for. People don’t know what you can do until you show them. I had to make a few Transformers illustrations before people started to ask me for them.”

Molly McCammon

Like David, private commissions kick-started Molly McCammon’s career as a freelance illustrator. “I started by offering illustrated couple portraits on Etsy, which helped fund my time at university. Over time, my practice shifted towards commercial work, but I still offer limited private commissions via my website when I have availability between projects,” she explains.

Created in Molly’s graphic-yet-tactile style, a private commission starts at £295, though the price per image is reduced if multiple pieces are requested. At the moment, they account for about 10 per cent of her income.

While her regular clients have her illustrate a variety of topics—cooking, travel, yoga, women in science, for example—most of her private work revolves around relationships. She regularly depicts couples, families, and pets.

“One particularly memorable project was a set of custom wine labels for a couple’s wedding. I illustrated five scenes of them enjoying their favourite activities, with each bottle meant to be opened on a corresponding anniversary. It was such a personal and meaningful way to celebrate their relationship, and I was over the moon to contribute and be part of it,” she says.

Molly’s top tip: “Clearly outline what the client can expect from the process up front, and charge a rate that genuinely makes it worthwhile for you. If you underprice, you’ll quickly feel burnt out.”

Robin Raaphorst

Robin Raaphorst is a talented illustrator in The Netherlands who trained to become a games artist. Because AI has ravaged everything from concept art to character development to environments in the games industry, she has pivoted by adding private commissions to her illustration repertoire.

“Since last year, I’ve been retraining to become a tattoo artist as well,” says Robin. “It’s the perfect blend of personal expression and craftsmanship. It’s also one of the few art forms that AI can’t replicate: it requires presence, trust and the human touch.”

Currently, private commissions constitute about 10 per cent of Robin’s income – something she plans to expand upon. One of the lessons she’s learned along the way is not to underprice herself. One of her finest commissions earned €3000 and produced a beautiful piece that now hangs in her client’s home. Painted across four wooden boards, it’s a large-scale piece, and today, she’d charge double for something similar.

“With work like this, I make what I think is cool,” she continues. “Recently, I had to illustrate an explainer graphic for a drilling machine company. There’s no way I’d ever make a flowchart about how drills are assembled just for fun. I’d much rather draw a three-headed dragon with tiger stripes.”

Robin’s top tip: “I sell my work through social media, my personal network, and most importantly, through exhibitions. Make sure you exhibit your work and turn it into a celebration. People are way more likely to buy art with a beer in hand.”