"The distinction lies in the fact that art is the idea brought to life, while an illustration is a depiction or explanation of an idea. Fine art is simply art for art’s sake. Even if you are doing a commission for a client, it would still be considered fine art. But illustration involves illustrating a story or idea. In modern illustration, the intent is most often the selling of a product. When something noble is put to ignoble ends, there is a deterioration of value."

[Anonymous]

With all due respect to this person’s thoughts, I can’t think of an artist from any field whose artworks have never been limited or influenced by money or fame. The notion of "selling a product" has always been a hallmark of an artist's job. If we were to discuss how payment is processed, we could identify some differences that distinguish illustration from fine art.

Let's take a few steps back: historically, an artist’s output and lifestyle were strongly influenced by the commissions from important patrons. Kings, popes, bishops, and the nobility would commission large amounts of artwork for private or public purposes, financially supporting the artist throughout the working period. With the decline of monarchies and the diminished authority of the church, the nature of these requests and expectations changed along with societal shifts, and artists had to adapt to the new conditions. Some artists chose to follow the traditional path, finding clients in art galleries and among wealthy private collectors; others decided to leverage new printing technologies, producing multiple copies of their artworks for a broader, less affluent audience.

In short, the modern market for illustration is based on two fundamental principles: the large-scale production and distribution of high-quality copies of single or multiple artworks, and the collection of small, proportional incomes from customers, regardless of their social class.

Thanks to this new system, artists who might not have been hired individually under the old system are now free to create and display their works. In turn, the public can enjoy their beautiful creations through easily affordable mediums like magazines and newspapers. For each copy sold, a small portion of the income goes to the illustrator, which can grow to impressive amounts if the artist attracts a large enough following. For example, during his early years as an emerging artist, Luis Royo, now the most famous European fantasy art exponent and one of the most important contemporary illustrators, gained public attention through magazines like Heavy Metal, National Lampoon, and Comic Art. Similarly, design illustrators who create commercial images for consumer goods get paid for every product purchased; anatomical and botanical illustrators are compensated for every manual sold; game illustrators for every themed product, and so on.

Does the method of payment affect the final outcome of an artwork? Yes, it certainly does. But does it affect it for better or worse? We can’t be entirely sure—it would be like assuming that all artists work in the same way. As we have discussed, in today’s market, illustration often reaches a wider audience compared to fine art, but that doesn’t mean it should be considered merely commercial.

It’s true that success and popularity don’t automatically equate to greatness. However, as many have demonstrated, greatness is not necessarily incompatible with success and popularity.