{"id":6050,"date":"2019-08-13T13:30:25","date_gmt":"2019-08-13T12:30:25","guid":{"rendered":"https:\/\/everpress.com\/blog\/?p=6050"},"modified":"2022-09-20T16:15:50","modified_gmt":"2022-09-20T15:15:50","slug":"how-to-handle-creative-compromise","status":"publish","type":"post","link":"https:\/\/everpress.com\/blog\/how-to-handle-creative-compromise\/","title":{"rendered":"How To Handle Creative Compromise"},"content":{"rendered":"

Compromise is an inevitable part of any artist-client relationship, but it\u2019s a word that evokes mixed reactions. Too much compromise and the creative no longer feels the idea is theirs, but too little and the client leaves feeling dissatisfied. Finding a careful balance between the two can be a challenge, and is often a source of friction for commercial artists. According to Barcelona-based illustrator Jor Ros, though, the first step in managing compromise is to accept it.<\/p>\n

\"Original
Original artwork by Jor Ros<\/figcaption><\/figure>\n

The ‘Counter-Brief’<\/h4>\n

\u201cI understand why it might be stressful for some people – and maybe something you struggle with – but not for me,\u201d he told us. \u201cI\u2019ve made my peace with it. It\u2019s something you have to manage, and you have to be really sure what your position on it is, because if not it can get out of hand and cause you trouble.\u201d<\/span><\/p>\n

As far as Ros is concerned, where artists and illustrators fall down is viewing compromise as something purely negative. Rather than seeing it as sacrificing your vision, it\u2019s a chance to start a conversation with a client, and he recommends doing this at the beginning of every project.  By making it clear you\u2019re open to discussion, and by establishing boundaries early on, it means any issues can be tackled together.<\/p>\n

\"Merijn
Merijn Hos photographed by Pierre Zylstra<\/figcaption><\/figure>\n

The way Ros manages this is to create what he calls a \u2018counter-brief\u2019. This is a response to the client\u2019s commission, delving into the context of the project, how it was originated, what they\u2019re trying to achieve, and who the graphic work is addressed to. By clarifying these points, says Ros, artists can often uncover potential pitfalls in the brief early on.<\/p>\n

Be open to discussion, and establish boundaries early on<\/span><\/p><\/blockquote>\n

\u201cMost people respond to it well, because it shows you\u2019re interested in the project and willing to compromise on some things, but there are also some things you\u2019re not. If both parties understand that it shouldn\u2019t be hard. The problem comes when this doesn\u2019t happen. If you let the client push you from the very beginning, recovering control or getting back on solid footing is really hard because you\u2019ve already given up that position.\u201d<\/span><\/p>\n

\"Original
Original artwork by Jor Ros<\/figcaption><\/figure>\n

Utrecht illustrator Merijn Hos also recommends establishing boundaries early on. \u201cIf you do it that way, they see you as more of a professional, and they won\u2019t fool with you later in the process because you know your stuff,\u201d he says. \u201cThey tend to take less advantage of you if you discuss the things that are scary to talk about – like budgets or rounds of revisions and deliverables. I think it\u2019s super good to have all that stuff clear up-front before you start a project. I don\u2019t think you should be pushed around forever on an assignment.\u201d<\/p>\n

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A post shared by \u261e Jor (@jor.ros)<\/a><\/p>\n<\/div>\n<\/blockquote>\n