Fig. 35.
The designer will always find that he is much more likely to sell his designs if they represent new ideas. The publisher is always on the look-out for something new.
For example, the idea might be a small booklet containing a brief anthology on “Happiness,” or some other like subject.
If a small booklet is designed, it is as well to remember that all the pages should not be fully illuminated. The cover and the opening page might be illuminated in gold and colours, while the rest might be in black and red only. If the booklet was executed with all its pages fully illuminated it would probably be rejected on the score of expense of reproduction. It is little things like this which, if taken into consideration, would prevent a good number of the disappointing refusals that are so often received.
Fig. 36.
A very attractive form of card is shown in (d). This has a cover design, a greeting with a space for name, and a quotation. When a card of this type is designed it should be arranged as shown in [Fig. 36]. By this means the card, when opened out, has the design all on the same side of the paper, and is much more convenient. Some may be made upright and others oblong in shape, as in [Fig. 36].
The prices paid for Christmas card designs may be anything from 10s. 6d. to £3 3s. Of course, higher prices than these are often paid for good work, when there is a demand for the work of the designer. A good average price for a design, however, is £1 1s.
It is a mistake to mark designs at a low figure, with the idea that the publisher will be more likely to take them. This is quite a wrong impression, as, if the publisher wants the designs, he will not be slow to make an offer if the price is too high; while, on the other hand, if they are not suitable for his purpose, he would not take them as a gift.
When sending designs, it is as well not to write long letters of explanation. Letters should be as brief and pointed as possible.