To keep is simple, for myself, it all comes down to this:
Is it a photo based cover, a text based cover, or a hybrid of the two?
Based on those three simple criteria, I decide the quote on the composition. What they want in the layout, where, and how "busy" they want it. I then give about 3-6 options based on their parameters, as I have a very overactive imagination, and often take a weird para-social ownership while I'm doing my part. So I do a little extra to keep myself, until the ideas are filed in my mind, then I destroy them. Move on to the next project.
Two things make this a really great article—your transparency and your candid honesty. This is extremely informative for designers just starting out in this space (i.e. me!).
And honestly, Nathaniel, you could swap out [book cover design] with just about any sector for the purposes of your discussion. Pricing design is sooo nebulous. I am co-founder of a design studio which is now in its 8th year of doing business, and we STILL stumble on pricing. As you brilliantly outlined, there are so many factors at play. And it's all the same things, really: Is the work complex? Will the client be challenging to work with? Is it the type of work we want to do? (this is a big one for us, too). All the same things, man, including the need to make a living and provide for our families, which, depending on how slow things are, can be a very loud voice in the decision-making process.
If I were to look back on our pricing for similar projects over the years, I'm positive it would look like a theme park roller coaster, with a range you could drive a bus through.
I am thankful for the information you have so generously shared here. Your seeming uncertainty has actually provided a lot of solid ground. Good stuff, as always.
It really is hard to quote. The last cover I did for someone I drastically underpriced based on the assumption that it was going to be mostly photomanipulation with a bit of paintover like the last one I worked on for that author (it was a military sci-fi cover) and then it turned out to be almost entirely illustration instead. Think I only charged $275 for it which would have been cheap even for photomanip, but, as I was still new to freelancing I was willing to work for less than I should to build up my portfolio of commissioned work. It would have been more than double that though had I known going in it was going to be illustration heavy. Next time I'll be more careful. This was a few years ago now as my own books have kept me pretty busy. Learned a lot of lessons from that project though such as the need for a clear contract with specified number of revisions before extre fees are incurred.
While I've been waiting for the Shadow Ticket cover to drop, I've been musing on how much the designer would get paid to do it.
Re: undervaluing yourself, if that's the case then whatever rate you feel comfortable with, add 20%. Or whatever additional rate starts to make you feel a little nervous.
It’s always nice and validating to see other designer’s prices and know I’m in the ballpark. Pricing can be rough, I’ve finally finished a pricing table for self-published clients with a base rate and then add-ons (paperback, hardcover, etc). It’s nice to have something formalized to fall back on.
This is solid gold!! Once again I love your transparency and the flexibility to meet clients where they are at shows confidence, that paired with the great work, I bet you put yourself right in their rolodex for future work.
To keep is simple, for myself, it all comes down to this:
Is it a photo based cover, a text based cover, or a hybrid of the two?
Based on those three simple criteria, I decide the quote on the composition. What they want in the layout, where, and how "busy" they want it. I then give about 3-6 options based on their parameters, as I have a very overactive imagination, and often take a weird para-social ownership while I'm doing my part. So I do a little extra to keep myself, until the ideas are filed in my mind, then I destroy them. Move on to the next project.
No gods, no masters, no contracts.
I work weird like that. 😆 🤣 😂
Timely! ;-)
Two things make this a really great article—your transparency and your candid honesty. This is extremely informative for designers just starting out in this space (i.e. me!).
And honestly, Nathaniel, you could swap out [book cover design] with just about any sector for the purposes of your discussion. Pricing design is sooo nebulous. I am co-founder of a design studio which is now in its 8th year of doing business, and we STILL stumble on pricing. As you brilliantly outlined, there are so many factors at play. And it's all the same things, really: Is the work complex? Will the client be challenging to work with? Is it the type of work we want to do? (this is a big one for us, too). All the same things, man, including the need to make a living and provide for our families, which, depending on how slow things are, can be a very loud voice in the decision-making process.
If I were to look back on our pricing for similar projects over the years, I'm positive it would look like a theme park roller coaster, with a range you could drive a bus through.
I am thankful for the information you have so generously shared here. Your seeming uncertainty has actually provided a lot of solid ground. Good stuff, as always.
Thank you Shane! Our little chat was a big inspiration for this one.
I’m comforted to hear that it’s still a challenge for you in your studio’s 8th year. Daunting, but comforting!
I wouldn’t be where I am today without the transparency of other designers. I think it’d feel wrong if I didn’t pass it along.
Love it. Keep doin' what you're doin', brother.
It really is hard to quote. The last cover I did for someone I drastically underpriced based on the assumption that it was going to be mostly photomanipulation with a bit of paintover like the last one I worked on for that author (it was a military sci-fi cover) and then it turned out to be almost entirely illustration instead. Think I only charged $275 for it which would have been cheap even for photomanip, but, as I was still new to freelancing I was willing to work for less than I should to build up my portfolio of commissioned work. It would have been more than double that though had I known going in it was going to be illustration heavy. Next time I'll be more careful. This was a few years ago now as my own books have kept me pretty busy. Learned a lot of lessons from that project though such as the need for a clear contract with specified number of revisions before extre fees are incurred.
Thanks for sharing! It is so easy to undercharge. I definitely have too.
I really appreciate this! Here’s some more info to add to the spreadsheet:
DK Books (part of Penguin Random House): $1,180
A Christian book publisher (cryptic): $1600 minimum
Thank you, Beth! I appreciate it.
I feel like a PRH imprint should pay more than the historical society press I did a cover for last year 👀
As my old boss David Dunham used to say to impossible questions like that, “I don’t know. How long is a piece of string?”
Oh I love that. A perfect, succinct metaphor!
While I've been waiting for the Shadow Ticket cover to drop, I've been musing on how much the designer would get paid to do it.
Re: undervaluing yourself, if that's the case then whatever rate you feel comfortable with, add 20%. Or whatever additional rate starts to make you feel a little nervous.
I’m curious if it will be in-house or a big name freelancer!
It’s always nice and validating to see other designer’s prices and know I’m in the ballpark. Pricing can be rough, I’ve finally finished a pricing table for self-published clients with a base rate and then add-ons (paperback, hardcover, etc). It’s nice to have something formalized to fall back on.
Isn’t it? I felt the same way when I started to hear what other people are making/charging. It gave me a landscape to place myself into.
That’s smart! I should do that. I probably won’t, but I should. Haha.
Thanks for your transparency on this! Really interesting post
This is solid gold!! Once again I love your transparency and the flexibility to meet clients where they are at shows confidence, that paired with the great work, I bet you put yourself right in their rolodex for future work.