Dear Jacky:
I’ve been approached by a client with a new opportunity…but it’s unpaid. Is there ever a good reason to say yes to free work?

It should really go without saying that in an ideal world, artists and illustrators would never be asked for unpaid work. The very nature of illustration is that it's commercial work, you're providing a valuable service and there should always be some form of exchange. However, we also understand that there will always be instances where offering monetary payment just isn't on the cards. Even as an agency we receive these kinds of enquiries!

So let's say you've found yourself faced with this very scenario. When it comes to considering these types of opportunities, it's important to remember that you still need to get something out of it. We all know exposure doesn't pay the bills! Is there ever a good reason to work for free?

And what are some alternative benefits that might help you say yes to an opportunity or project, beyond financial incentive? By asking yourself some key questions, you’ll be able to navigate the situation with confidence and come to the conclusion that is ultimately right for you!

Ultimately, your time might be your biggest value as a freelance artist or illustrator. The first question you should ask yourself is, how busy am I right now? Do I have the current capacity for this project, and could I easily find the time to take it on without compromising my other commitments or upcoming opportunities?

Every artist works differently, every process for creating work is different. Certain styles are just faster to execute than others, so for certain artists, it might be much more manageable to take on a low paid or unpaid job because they know they can create something in a few hours that will look great. While for others with a more detailed style or intense process, taking on the same project would mean a much bigger investment of their time.

You might also be between paid gigs and struggling for inspiration for a personal project. Could this low paid or unpaid opportunity be a good way to keep you busy and still working while you’re in a quieter period?

Think about how much time you would need to invest to create something that you’re proud of. And then decide whether you have the current capacity for that, or not.

Perhaps you’ve been approached by a client or organisation that you’ve always wanted to work with. They might not be able to cover your usual rates for this particular brief, but you know they work with other brands or do have other projects coming up that should have more reasonable budgets. Could working with them on this initial opportunity be a good chance to build rapport, get your foot in the door, and show them what you have to offer?

A great example of this is spec work, or when a client requests an unpaid treatment. Typically we see these sorts of requests when an agency is pitching for new work or a new client, or a publisher is trying to get a new book title through acquisitions. If they don't have much of a budget for the pitch, it can be worth thinking about whether this could be a small investment of your time upfront to possibly land a huge campaign (with corresponding budget) down the line.

Something to remember is that it’s always reasonable to set some friendly expectations with the client for future commissions. Just because you’re agreeing to a lower or waived fee this time, doesn’t mean you should be expected to agree to the same deal next time. You might like to position your response to include a caveat along the lines of,

This will provide some useful insight for the client too, around where a budget for this type of project should ideally be landing, and hopefully next time they’ll come to you with a reasonable expectation of costs!

If you are speaking with an agency client, it’s also worth considering how this work will benefit them. Will it help bring in more work for their agency, and therefore greater revenue, and are you being considered in that? If the offer is coming through an agency rather than from a direct client there may be an opportunity to ask for a small fee, instead of your usual rate, to cover some of your time. What could be a very reasonable upfront investment for them, might give you the confidence to accept the project knowing you’re working with an organisation that values your time.

Outside of the client, how interested are you in this particular opportunity that you’ve been approached for? Does the work itself speak to you, is it dealing with a topic or industry that you’re interested in, and would you enjoy working on it?

If none of these things are filling your cup, perhaps consider whether this opportunity is really worth your while. You might find that you’re ok with turning this one down and instead focusing on other projects that do tick at least one of those boxes, or else waiting to invest any of your unpaid time until it’s for a project you really care about.

Speaking of projects you really care about, what about a charity or a cause that ties directly to your passions and interests?!

It’s pretty common for us as agents to see artists more open or willing to come on board a certain project for less if it will allow them to work directly with a cause they care about. Offering your time to helping out with a charity or cause related project isn’t typically the most financially rewarding, but the benefits that come from the sense of fulfillment, pride and personal satisfaction can be huge.

A question you should ask yourself is whether there are other benefits this client could offer beyond financial remuneration, or the elusive promise of ‘exposure’. Are they a brand where contra could be explored in exchange for the work, such as product, use of their services, or even equity in the company? (Just be sure to check in with your accountant and talk through any potential tax implications associated with a contra arrangement.)

It’s fairly common practice for industries like tech startups to trade equity and stock options in exchange for murals, logos and branding work in their early years and there are some pretty well known examples of this paying off exponentially for artists if the company takes off.

Of course, there are plenty of benefits outside of the financial that can come from taking on a particular project. As a freelance artist, your portfolio is your ultimate tool to being put forward for and awarded new work and opportunities.

Ask yourself:

• —•Is this a piece I could add to my portfolio?
• —•Is it something I’ll be proud to share and promote on socials, and use in my future marketing efforts?
• —•Will the client be able to provide professional photos of the work in-situ (where applicable) that I can utilise for my folio, socials and future marketing?

Perhaps you’re still early on in your career and don’t have a load of commercial work in your folio just yet. Could this project be worth taking on because of the important gap it will fill in your folio, which could easily lead to attracting more of this work or similar briefs down the line that are better paid?

If you struggle with personal work (P.S. we’d recommend you check out our Dear Jacky post on this very topic if you do!) taking on a low paid or unpaid project can sometimes be a great substitute. You might receive valuable creative direction and feedback from a client that helps you create a folio-worthy piece you’d have struggled to come up with on your own!

Love it or hate it, networking is another necessary area of self promotion. Is the creative director on the project well known, or will you get valuable 1:1 time with a producer or creative that you otherwise might have been intimidated to approach with your work? Will the project give you the chance to team up or collaborate with another artist that you admire?

If it’s something that doesn’t come easily to you, perhaps also consider whether a low paid or unpaid opportunity is a good networking opportunity. Relationship building can be a really valuable asset to sustaining a long creative career, and shouldn’t be overlooked.

In a similar vein to personal projects, there may be certain opportunities that bring you the chance to develop in your own practice as an artist. Another great question to ponder is whether this project will challenge you, help you level up in a certain area of your practice, or even upskill.

Are you perhaps really well known for working in one style, but lately you’ve been experimenting with something new, or evolving your style? A lower paid project could be a great chance to get your new style direction out there. If the client is offering a low budget (or none at all), are they open to seeing concepts from you in different styles?

As producers we’d all love for every project to run smoothly and be completed on time and within budget. Optimistic, right? But from our years of experience in the industry, we understand that of course things happen and projects evolve. So we aim to put in the work during pre-production to help manage everyone’s expectations upfront.

If you are considering taking on a low or unpaid project, you might find it beneficial to try and put some good parameters in place with the client before getting started, to avoid the project potentially dragging on and you putting in hours of extra work without compensation.

Think about the brief you’ve received. Does the client know what they want? Is it therefore a clear brief that you could execute fairly easily or quickly, and with a straightforward process? Could you utilise some existing personal work rather than creating something new? And if not, perhaps you could ask the client to do a little further exploration for you:

Can you agree to a set number of revision rounds upfront? The last thing you want is to sign on to a project with a low fee, and find yourself submitting round after round of changes when there is no room to request overages to cover your extra time. Most clients will be happy to agree to a set number of feedback rounds, and be understanding that you’ll need to limit your time on this sort of project. And if they aren’t understanding or willing to compromise, better to know this upfront so that you can factor this into your decision!

When it comes to the final outcome, be reassured that there is no one-size-fits-all response. Turning down one opportunity because it doesn’t align for you at the time doesn’t have to set a hard and fast rule. You might find yourself in a different position or with some free time down the track, when taking on a low paid or unpaid opportunity would be worth pursuing. And if you are turning a client down, remember to try and lead with kindness! You never know when that client might have a bigger and better opportunity that you could be perfect for, so best not to burn the bridge if you can help it.