Why separate books
In most studios the shop takes the inquiry and assigns it. That is efficient, it fills the calendar, and it means the person who ends up drawing on you is frequently chosen by availability rather than by fit.
Here the inquiry goes to a named artist and is answered by that artist, in three to seven days, from their own inbox. If they are not right for the piece they will say so and name who is, here or elsewhere in Seattle, and that is a referral rather than a handoff.
The cost of this is the waitlist. Four to six months is a long time and there is no way to shorten it that does not involve one of these three people doing work they are worse at.
Choosing, if you do not know
Does it need to look like a photograph? Auden. That is a specific technical discipline and nobody else here does it.
Is it small, fine and drawn rather than rendered? Wren.
Is it solid black, ornamental, geometric, or do you want it hand-poked? Iver.
If none of those is obviously it, send the inquiry to whoever’s work you like most and let them redirect you. That happens perhaps twice a month and nobody minds it in either direction.
The one shared thing
The process, the rate and the policy are identical across all three. Two hundred an hour, twelve hundred a day, two hundred deposit, seventy-two hours to move it, free touch-ups in the first year. Nobody negotiates separately.