This is the first time ever that I have had a space designated to my work. Up until now I've balanced sketchbooks, laptops and Etsy orders on my knee on the settee or amongst printers, guillotines and plates on the kitchen table. But one of the benefits of holding an Open Studios (in my case open house) exhibition, which I did last week, is that it forces you to focus and get things in order.
That's been one of my problems since going self employed (well, since, always) is keeping focus. It's one of those things I didn't think about beforehand, but now that I have all the time to give to my art and to my business, how best should I use it? And, I'll be honest, the first year and half, of going freelance, has been trying to adjust to that and it hasn't been an easy thing.
So, this is why actually making a room/space for my work has been so massive. I'm hoping it's going to help with how I manage my time and my business. I hope. And, I'm open too, and appreciative of, any other suggestions that may help me focus on the task at hand rather than the million little ideas knocking at the door wanting to take up my time.

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Post by Chloe

Lotta Nieminen’s illustrations are packed with detail, colour and narrative. The bold vector shapes combined with subtle texture and an atmospheric colour-scheme is what really brings this work to life. Lotta Nieminen’s talent doesn’t stop at illustration either. She is also a graphic designer and art director who runs her own studio based in New York.

If you would like to see more of Lotta Nieminen’s work please visit her portfolio.

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karolin schnoor is a German freelance Illustrator and designer, who uses screen printing as an integral part of her illustration practice. Inspired by a love of colour and pattern her illustrations can be found in magazines, stationary, calendars and mugs with a vast array of products to purchase in her Etsy shop. Some of her clients include; Harper Collins, Creative Review and The New York Times.

To see more from this artist visit her website.

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Philip Giordano

Ah, new year resolutions. 

The long line of promises you make at the beginning of each year to be a better version of yourself than the year before. To eat healthier, to move your body more, to be more present. To read more, draw even more, and to be braver when it comes to asking for more.

It’s a good thing really, resolutions. So why can’t we stay on track past February? 

Because it’s hard to break 10 – or for the more ambitious among you – 20 habits in such a short time. 

Let’s face it. That long list of things you’d like changed or improved? They’re there because in reality it’s something you feel that you lack or aren’t paying enough attention to. And that’s really awesome because acknowledging them is half the battle won. The other half though, now that’s a real tough nut to crack.

It’s easy to write down faults you have and what you want to do to improve it. But faults, like habits, are hard to change. So what works?

I’ve stopped making resolutions 10 years ago. But that doesn’t mean I didn’t grow or change. Far from it. I quit my job, I took on freelance jobs, gave talks, taught at a university, learnt coding (among many other things), read more, and traveled more, etc.

Wanting to make changes to your daily life isn’t just filled with affirmations on how you pledge to be different. It’s about taking concrete steps, little by little, day by day to reach your goal. It’s unsexy. It’s tedious. It’s hard work. New year resolutions on the other hand, can be like bursts of positive emotions and hopefulness, Instagram photos with random inspiring quotes, and stuttered promises made when you’re drunk. Guilt and hopelessness sets in not long after.

So here’s what I recommend instead: make a to-do list.

Not some fancy schmancy list of life-changing resolutions that you tape to your fridge on January 1, where it stares at you every day when you wake up in the morning when you grab your milk – only to be taken down, tattered and stained with failure and regrets of not being able to tick them off at the end of the year. No more. 

Figure out what you want to achieve, then write down what you’ll do to get there. Heck, you can even omit writing out the big goals. Just write out what you’re going to do every little step of the way. I’m talking about the most boring, mundane things that will trick your body/mind to complete it. Don’t just throw up a big life goal without a plan on how you’ll get there – we all know when we don’t know where we want to go, we’ll just stay where we are. It’s comfortable. It’s nice. Change is hard. And we also know that if you don’t pencil things down (and subsequently tick them off), nothing is going to happen. Step by step is where it’s at.

So if you want to make a new resolution this year, do yourself a favour and start a to-do list.

You can thank me on 31st December.

Amy Ng blogs at Pikaland, a popular stop for illustration lovers, students and artists who are looking for answers on how to find a balance between art, creativity and commerce.

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Illustration by Mike Reddy

“The reason why I’m not getting work is because I don’t have an agent.”

I looked at her for a moment, and was deciding if I should tell her that if she’s not having any luck finding one, is because she should be focusing on doing something else instead. Like finding clients instead of finding an agent. I didn’t have that chance, because she continued to rattle off a long list of agencies that she’s contacted – all without luck, and so here I am.

It got me thinking. How many people out there believe that the answer to all their woes lies in getting signed up by an agent?

I bet there’s quite a fair bit who does. 

I’m not saying that an agent won’t get you work. I know they do. But I also know that a lot of times you’d have to show that you’re good at what you do (with actual paying clients) before they’re likely to take you on. Having a few people who know and have paid money for your work demonstrates that you have skills that people want. And when you have enough people who want to pay you for your services, you’re already in business. 

I’ve seen fresh graduates and a handful of self-taught illustrators scrambling to get representation, purely because they’re scared of what’s out there. Some of them would prefer not to talk about business or money because it’s a difficult subject and one that they’d like not to poke around even if they have a 10-foot pole. Handing all these important things off to an agent, while it’s convenient, does not detract from the fact that they’re better off learning about it at some point. And besides, that’s not what agents are solely for. 

Think of an agent as someone who can manage and find new avenues that you’re not reaching yet. They’re a treasure trove of connections and networking that allows you an insider’s peek at what’s on the table. Agents are great at negotiating contracts and getting you what you’re worth (or try their darnedest). What they’re not however, is a magical character who can guarantee you jobs and success just because your name is on their list.

Which leaves us with the chicken and egg situation:

If you have to beg and grovel your way to find an agent, you might not be ready for one just quite yet. Better to have them come a-knocking on your door (or invite them to see your potential with a well-crafted letter showing them who you’ve already worked with) when you’ve achieved a modicum of success through your own hustle, hard work and the right strategy.

And when that happens, you might just wonder if you need an agent at all.

Amy Ng blogs at Pikaland, a popular stop for illustration lovers, students and artists who are looking for answers on how to find a balance between art, creativity and commerce.

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A long time ago, before I was telling my stories with illustrations and words, I was a telling them through the use of moving pictures, I was an aspiring filmmaker.

It all started when a friend and I decided we would be the next Tarantino; break out filmmakers, creating cutting edge film. But instead of spending thousands of dollars on film school, we took what little money we had and we were going to do it guerilla style, the indie way.

In the next few months, we drafted a screenplay, auditioned actors, scouted locations, purchased equipment and started filming. We even came up with a hollywood sounding name for our troupe, “The Yuzzi Brothers.” And since we couldn’t take a few months out of our day jobs to make the movie, we wrote a story that took place at night. It would be one of the most intense times of my life. We typically filmed from 8pm to 3am, with just enough sleep to go to work that same morning. Caffeine had become my best friend. A year later, we finally finished our movie and showed it in theaters, in all its flawed glory.

Looking back at the romanticized version of those events, I could honestly say that it was one of the best experiences of my life. We learned a lot about ourselves and about the industry, yet it was not without its challenges. We had actors & crew members who dropped out, our equipment was stolen, myriad of technical issues, schedule conflicts and even injuries. And when you’re on the 8th month of a production, you start to question yourself and your project (or your spouse would). We could have easily given up at any point, but we did not. We kept telling ourselves that we needed to finish.

Starting something new is exciting & fun. And let’s be honest, it’s probably the easiest part. The endless daydreaming of a new project gives us a sense of euphoria. But once the tire hits the pavement and the daily grind of our life gets in the way, that’s when we’re really tested. Self-doubt begins to manifest and we start looking for the off-ramp. We question our ideas, we procrastinate, we revise endlessly. We’re stuck in a never ending loop between unlived expectations and our limited abilities to meet them.

It’s only natural we should strive for perfection. But perfection is that golden goose that if you look at it long enough, it turns into an ugly duckling. That is, in fact, an important part of what makes us creatives. And as we grow and get better, we look back at our work and see the flaws. Yet it’s also important not to get stuck, to keep moving forward, to finish. That is how we grow. I know artists who actually don’t start anything, fearing that the end result will never live up to their expectations. It’s quite unfortunate.

When I feel dismayed, I go back to the reasons why I started. It’s much like reminiscing about my carefree childhood days. Everything seemed possible. I look for that seed of inspiration and use it to re-ignite my inner locomotive.

Sometimes, I realize that I am at that moment in my life incapable of telling the story or drawing that picture. I simply lack the life experience or skills to do so. This doesn’t mean that my idea is lost in the woods, never to be seen. It just means that I can put it in my back pocket and come back to it later. And trust me, I have many of those.

When we were working on our movie, there were so many variables that was ultimately out of our control. We relied on so many people, and to be able to keep it going for a year, and to finish was quite a miraculous thing.

Contrasting that to my current endeavor of writing and illustrating, where everything is really on my shoulders, gives me a unique perspective and set of expectations. I really have no excuse not to finish. It’s all on me. And If I have to spend time away from my family to work on my craft, then I better make it count.

Finishing is important. Once you’ve experienced completing a project that you’ve poured your life into, you stand among the few who have “made it.” You can tip your fedora to the naysayers and show them that you’ve done what you’ve set out to do. You’ve kept your word, your promise; even if it’s just to yourself.

Those who finish are the ones who inspire me the most, because I know how hard it is to get to that point. Not everyone can be a breakout overnight success, but we can sure break out of our walls and create something amazing, and it all starts with mastering the art of finishing.

So put on that thinking cap, adjust your monocle, get a jug of coffee, and dust off that manuscript or picture book. It’s calling your name.

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Illustration by Laura Callaghan

When I first left my full time job 7 years ago, I suddenly felt like a city mouse set loose out in the countryside. Time seemed to pass slowly at first, but then it got quicker and quicker. I had lots of opportunities for fresh air – but I found that often locked myself in, concentrating on work instead. More often than not, my hours were longer than a 9 to 5.

Freedom was stifling.

My timetable was turned upside down. Where before I could tell what I would wake up, it now felt like I could do whatever I want, whenever I want. And it started to weigh down on me. But wait, having freedom is great right? People come up to me and say things like “Oh wow, that’s so cool, I’d love to work for myself, like you, so that I won’t have a schedule to follow.” Except that it’s not like that at all. It was debilitating.

Weird things start to happen when you get too much of anything. In this particular case, I suddenly had a lot of time freed up, so that I could concentrate on freelance work and on my website; instead of having an alarm wake me up at 8.15 every morning (after many snooze buttons prior) and cursing the traffic under my breath each time I set off to work. I felt odd. Almost in a surreal way. As though time was this continuous line that ran without stopping or pause, and I was just a mere beat that time skipped over.

I woke up at odd hours, and slept even later than when I was employed full-time. Instead of dressing up and showering to go to work, I found myself lounging around in my pajamas and having extended breakfast while skimming over the newspaper (contents of which I wasn’t really interested in anyway). Hours could pass. And then it would be lunch, followed by a TV show that I missed. And pretty soon it was time for dinner. Where did the time go?

After a few weeks of this unstructured schedule, I found myself in a rut. My productivity plummeted instead of what I thought it would do – that I’d be super crazy productive and churn out lots to show. Alas, to my dismay, it wasn’t true at all. I couldn’t think straight – I felt like there’s a haze hanging over my head and weighing my entire being down. My work suffered. My happiness level went way down. I’d get irritable and defensive when anyone asked about my day. I’d get jealous of other people who had colleagues – my companion at home were two dogs who got to take a lot of naps during the day and wasn’t particularly interested in engaging in a two-way conversation with me, dog language or no.

I craved for something but I didn’t know what. And it was driving me nuts. I was a mice left out in the field too long and instead of thriving, I craved for a cage instead. A semblance of order. Walls too, so that I could figure out where I fit in the whole picture.

So I whipped out that alarm clock again, and set a time everyday for waking up. I took a shower. Dressed up a little. Put on make up. After that, it was straight to the table for a quick breakfast. An hour later, work began. No ifs or buts about it – non-stop working for an hour at which I could not surf the internet, read or watch anything non-related to work. And it felt good.

I felt a sense of purpose. I felt that I was in control of my situation. I found that when I focused my energy and attention towards a project I could get things done quicker and more creatively than when I dawdled around, aimless and listless. I went in search of inspiration, instead of waiting for inspiration to strike me like a proverbial bolt of lightning. I took constant, but shorter breaks in between, and felt my mind filled with ideas even when I did stop. I read a lot more, offline and online; I was ravenous for information and devoured everything in sight so that I could sort through things and find patterns and connect the dots. I organized like mad. I exercised regularly, and was able to set up a system where I could just stop my work and head down for dinner, and continue right back to where I stopped before.

I found that when I had a system in place, I didn’t have to worry about a lot of things. Having a schedule freed up my energy and time, so instead of spending them thinking “what’s next?”, I went on autopilot mode for the things that didn’t matter. My brain suddenly got a lot more room to think up new things instead of feeling guilty or having to keep track of things all the time. Go brain!

I wasn’t caged up, but I felt better. Instead of putting up permanent walls, I put up a chain link fence just so I can know where my boundaries are. I could peer out and see what’s out there, and I could also peer in to see if what I’m doing works. I had a structure. I had a ritual. I had a plan.

Year after year, the distance between me and the boundary that I set up in my mind grew. And after 7 years, the distance between me and that chain link fence is so vast that I don’t know where it began and where it ended. I’m not sure if there’s even a boundary anymore.

Freedom never felt so good.

=========

If you’re just starting out as a freelance illustrator or artist, here’s how you can start your very own ritual:

Wake up at a certain time every morning

Set that alarm clock for the same time, every night before you go to bed and no snoozing when it’s time to get up! This sets the day with a tone that means business – getting out of bed takes incredible effort, especially if you don’t have a place to physically report to work everyday.

Dress with pride

Pyjamas are comfortable. And yet they don’t make you feel as though you can conquer the world. Take a shower. Put some lipstick on if you like to. And take pride in how you look – it affects your work and mentally prepares you for tackling tasks for the day; even if you’re not leaving the house! 

Eat, and eat well

Don’t just grab a cold roll from the fridge – make sure you eat properly to refuel, because you are what you eat! My lunch hour is an hour where I can unwind and relax a little, so I like to plan it in advance so when the clock strikes one, I’ll sit back to read the latest Time magazine, or indulge in a little Mindy’s Project while I eat. I generally avoid snacks in between meals – I like to focus on my work so it’s 3 square meals a day!

Schedule time out

Go out for a run, or take your pet for a walk – it’s important to step away from your desk at certain points of the day. The danger of being a freelancer is that you’re almost always glued to your desk for 14 hours straight, which can quickly lead to burnout. Schedule time out often so that you can see things with fresh eyes.

Aim for a cut-off time, and end it with a ritual

Some people stop working completely at 6. Sometimes I stop work for dinner, before continuing again until 9pm. But I try my best to not work past 10, because I’d be waking up the next day again to do work anyway. So I walk my dogs with my husband after dinner, which often signals the end of my workday. For you it could be a hot bath, dinner, ice cream, or even supper – the point is to have something to look forward to that will physically and mentally signify that you’ve done the best for the day.

Amy Ng blogs at Pikaland, a popular stop for illustration lovers, students and artists who are looking for answers on how to find a balance between art, creativity and commerce.

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Coming back to a blog after an unexplained absence is like opening up the doors to your childhood home after a few decades. It’s so familiar, and yet a little eerie, since it’s oddly unmarked by the passage of time. So instead of some big comeback post, I just wanted to say the following:

• I’m not dead! (Thank goodness!)
• I have taken the last six months or so to help my husband open up a restaurant in my adopted hometown of Minneapolis, MN.
• There are new editorial services on my freelance website, namely the option for a synopsis overhaul (feedback on your idea before you sit down to write it all out) and a reader report (my eyes on your entire manuscript, but more condensed feedback, which renders the service more budget-friendly).
• Look for more writing and publishing posts here soon.

Maybe it’s the leaves turning golden outside my window, but I feel like change and progress are in the air. I’m excited to think more deeply about craft, as I’m always inspired to when composing posts for the blog. The publishing world has changed since I left agenting in 2013, but really, it hasn’t. There have been trends that come and go, and the usual mergers/acquisitions, and whispers about the viability of this genre or that, but the soul is still intact, no matter how much everyone cried “Doomsday” about ebooks and the recession and shrinking advances and dwindling attention spans.

The reality remains that there’s always room for good stories, and there is an entire industry of people who are hungry to acquire them and bring them to readers.

The world at large has changed, there’s more conflict and suffering, more joy and hope, and I think that our stories are reflecting a more authentic reality that’s compelling to young readers. More now than ever, it’s important to honor our collective humanity and reality, even as we’re wrapping it in a blanket of fiction.

What does it mean to write children’s and young adult books in 2015? 2016? Beyond? Let’s figure it out together. I was gone for a while, and now I’m back.

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Post by Chloe

Lea Taloc has combined her passion for the kitchen and illustration to create beautiful works which often appear in food blogs and magazines. Through her art and graphic design techniques she is able to convey emotions and add visual embellishments to every day life. Lea Taloc’s work has a bright and airy feel to it which is refreshing and cheerful. 

If you would like to see more of Lea’s work, please visit her portfolio.

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Post by Chloe

 

Saskia Rasink is an illustrator, based in Rotterdam, The Netherlands. Her work has a bold, graphic style and the warm, sophisticated colour palettes used gives her work a mid-century feel. She often depicts maps and architecture inspired by her passion for traveling. She is also inspired by Scandinavian design, interiors and nature.

If you would like to see more of Saskia’s work, please visit her portfolio.

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Today, Dark Horse editor Brendan Wright announced his departure from the company via Twitter.  The Grindhouse and Mind MGMT editor got an early jump on his comics career at the company, taking on an editorial assistant position at the age of 24, and has remained there for the seven years since then. The news is surprising, given that […]

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Post by Chloe

Sarah Ferone is a freelance illustrator based in Philadelphia. Sarah Ferone’s background in painting and art history, and experience in designing for advertising has allowed her to develop a distinct, individual style. In addition to editorial, Sarah Ferone also works on packaging and books. Her work often has deep narrative and a beautiful handmade feel.

If you’d like to see more of Sarah Ferone’s work, please visit her portfolio.

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Illustration Friday Editor and Creative Director Thomas James shares his process for generating ideas for illustration projects. Send us your own process here.

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Amy Ng blogs at Pikaland, a popular stop for illustration lovers, students and artists who are looking for answers on how to find a balance between art, creativity and commerce.

Indecisiveness.

It’s a very well known affliction that plague creatives – and I’m using the term creatives very loosely. It could very well mean entrepreneurs, who may have a pool of ideas to tap from for their next venture; or a designer who has a big sketchbook ready to go for their next collection or season. For an artist, it could come to mean experimenting with the use of various medias to come up with a series or even to redefine their personal style as they find ways to mix things up.

Creative people have ideas. Some have too many. Which one should I pick? Which one should come first? What if this doesn’t turn out well? What if I lose time on something that doesn’t work?

It’s an easy breeding ground for doubt and confusion, which can ultimately lead to paralysis.

I have lots of ideas. Some of them didn’t quite turn out, and some of them did. A few years ago I began to keep a sketchbook that listed out my ideas; I filled them with pages of pages of thoughts, comments, figures, sketches and with it, possibilities (although these days, instead of just using a sketchbook, I found that Trello is a great app in helping me sort out my ideas.) And it wasn’t just a continuation of one idea either – every other week I would come up with a new idea; or I would stew on a new idea and blend it with a previous one.

But no matter how many entries there were in my book, I was resigned to the fact that I only had two hands. I know myself enough to know that if I were to dabble in a few ideas, they would never turn out well enough for me to know if it was worth pursuing. So what I did was to just focus on one idea at a time – I owed the idea that much at least. To bring an idea to fruition takes time, dedication and effort; things that I knew would be scattered if I tried to juggle too many at a go.

It was still an experimentation none the less. But I choose to focus on one at a time so that I can properly document and figure things out as I move along. Is it working? Is it not? Can I do better? Do I want to keep doing this? Will I make a difference? I question the idea (and myself) constantly at every step of the way – much like a scientist who keeps a record of an experiment to see its progress.

And once you’re committed to the idea, you need to give it space and room to grow, to breathe, and a chance for it to live out its life. You’ll have to nurture it, see if it can stand on its own two feet, or if you’re lucky – to see if it could fly. But first, you’ll need to make a decision: which idea goes first?

The idea is simple: Pick one. Just one. And start from there.

A good friend reminded me once when I told her that I had trouble picking one idea, and she said this little gem of an advice that I carry to this day: “It’s good to have lots of ideas – this way we can execute them one by one until we’re 60. We’re all set for life!”

I’d like to think that it’s a great way to look forward to the future. Not everything needs to be done right here and now. It’s always prudent to save some of the good stuff for later. Don’t binge on everything at once. Take a bite, savour it, feel it, taste it and really enjoy the experience. Let it change and excite you. Life isn’t a buffet table for you to gorge on (although it can sometimes feel that way!) 

Here’s a couple of tips and reminders for those who are still indecisive:

Don’t let fear stop you from experimenting. And fear takes on many forms: fear of failure, fear of missed opportunities, or even plain old irrational fear.

Experiments always leads you somewhere, and often times it leads you down a path you might have considered before. Enjoy it and soak up the process!

Ideas on paper are just worth the paper they’re scribbled on – especially if you don’t start.

If you can juggle a few experiments at a go, by all means feel free to do so! Just be aware that if you drop the ball on one, the rest might follow – and you might not know what the outcome would be if you had focused on just one.

Consider that perhaps life is one big experiment.

That we’re all here just trying to figure out what works for us on many levels. Personally, physically, emotionally, spiritually, and artistically. Finding a way to be able to fuse them altogether somehow, or balance them so that everything is in sync – if only for a moment. 

May we never stop trying.

May we never, ever stop experimenting.

[Illustration: Tyler Spangler]

 

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Illustration by Jennie Bradley

[The following is a guest post by Edward Burns, CEO of Advocate Art illustration agency.]

Advocate Art, a leading children’s illustration agency is celebrating 20 years this year, Edward Burns CEO of Advocate Art gives some folio tips to illustrators wanting to win more children’s book commissions.
 
Look To The Movies For Guidance
It’s a fundamental fact that stories contain characters – just like a movie contains stars, supporting cast and extras. If you think of the story like a movie and the characters in your folio like a casting director would their roster of actors, it will help you develop them for… well, that next blockbuster!
 
Characters
So no big film is devoid of characters.  There are no films with just scenes and narrative – that would be pretty boring.  The same goes for children’s books. Ok, there may be a religious title with inspirational scenes and verse, but that is pretty much it. If you don’t have characters in your folio, there is nothing for an editor to pick –simple! Now be honest, can you imagine your characters working as stars in storybooks? Or are they really only going to make it as an extra? Unlike a casting director, you have power to create this cast, rather than rely on the acting skills of your clientele – lets do that!
 
Cast
In short you have to create a selection of characters that can be chosen for a variety of stories.  Main actors, sidekicks, the mum & dad and animals (both anthropomorphic and stylized).  The more genres you cover, the bigger your rostra of potential actors, the more films (stories) your folio will work for.  You may have seen that classic 80’s film called the Goonies? For me, that sets the benchmark for characters covered in most children stories. You have the computer geek; the hero; the overweight funny guy; the older sister; her friend; the sensible older boy plus good guys and bad guys mixed as all ethnicities. You see all the same stereotypes in kids films and cartoons from Madagascar to Power Rangers and repeated in animations of cats, dogs, zoo animals – you name it! The same goes for children’s books, let’s see that bad guy lion or the geeky koala for example or hey, draw them as people!

Cover the bases
Remember, you have to supply the whole cast.  A publisher won’t just pick you for the lead character. Your cast needs to encompass all the main characters. A quick trick is to do sheets of doodles, some finished, some just pencil outlines – say a page of monkeys. Another tip is to do a character line up – like a police identity parade.
 
If you want to do a book about “xyz” have it in your folio
Your cast can be stereotypes for sure, just like actors end up playing the same rolls or get typecast.  So if your dream is to do a fairy story, have some fairies on your cast, play to your drawing strengths. Build a cast for roles you want to illustrate or are good at.
We have illustrators who get work because they are simply good at illustrating Hispanic-looking kids, for example. Don’t forget though that each actor needs to be right on the money, there is a lot of competition! And please don’t kid yourself that having a princess in your folio will mean you get a fairy book, it has to be spot on. As an agent, I wait for the Art Director to say, “that’s the girl in my book” as he/she points at maybe the smallest doodle in the corner of a page of your folio.
I recently had an artist comment that it was odd that she was always being selected for period work like fables.  I said “Your joking right? Every person in your folio is wearing pantaloons!” I had a similar situation with an artist saying she was fed up with illustrating bible stories, we had to remove all biblical work from her folio and replace them with characters she wanted to do next.
 
Understand the other side
By understanding what an Art Director is going through to get an artist selected, you will understand why maybe your folio is not working for them. The typical selection process goes like this:-
The Art Director has a publishing meeting where sales marketing and the author are present; they want to see the suggestions for their new cute bear book, for example.
The editor will go in with maybe 6 illustrator suggestions.  Examples of their bears (not giraffes or pigs or fairies) – BEARS! And the right bear for the story.  It may sound a bit narrow minded creatively that they have to show a bear, perhaps sales don’t have the creative vision to imagine what your bear will look like from looking at a giraffe?!  Maybe there are too many bear samples out there for the Art Editor not to need to compromise. Most likely, they really want to nail it at the meeting.  The point of the meeting will be to definitively select the artist, that won’t be possible until the author says “That’s my bear in the story!”
 
“I’m very versatile, just ask me to do what you need”
It’s a classic line I hear from illustrators who don’t have the goods in their folio.  Ok it’s not their fault, often they don’t know what the “goods” are. When an Art Director is browsing your work on the web a) you are not there to say the line and b) why should they go to the effort and ask you? C) If you were perfect for the story, or liked bears, you would have drawn one by now!
Please don’t kid yourself that they will call you and ask you for a sample before the meeting of your bear, based on the strength of your giraffe.  They won’t have the budget for this so it will be a free sample and they don’t want you to terrorize them for weeks phoning them asking how you got on.  Only if they have prior experience with you will they ask you to sample. Folios have become a bit like menus in a restaurant, that’s your choice – the chief won’t do specials.

Characterization. Oscar winners
Ok, the characters have to be good at their craft, good actors, expressive facially and physically animated. They carry narrative from page to page even with dots for eyes and a half moon mouth, for example. It’s all the about the subtleties e.g. the tilt of the head, the turning in of a foot. I’ve seen the best illustrators work with films on in the background, even in the corner of their mac to guide them- Nicholas Cage transferred to a bubbly-headed boy. Show you can do it in your folio by setting yourself a narrative. For example, draw:
-girl is happy walking her puppy,
-girl looses puppy,
-girl thinks she knows where it is
-girl is happy she finds it.
 
Candid – natural well observed poses
Great illustrators are great actors; they understand human movement and poses. You may have a great eye for colour, a great technique and be quick but if your characters are all wooden, like they have been jig-sawed from thick plywood and the arms are moved using pins, they won’t be able to carry the narrative. It’s like the difference between wedding photos when all the relatives are lined up and the candid shots taken by an 8 year old on her iPod.
A tip is to click away on your phone at your family and friends maybe one Sunday. Draw a giraffe as your grandmother looking surprised or laughing; or your young sister as she concentrates on a magazine, or your mum when she is thoughtful
 
Colour
This is a huge subject so I will bullet point the basics that are relevant for children’s publishing:-
    •    Production printing processes wash out colours.  Softness and subtleties are often lost. Bright colours are best, especially when pitching younger.
    •    Spend some time understanding colour theory.  Warm colours to cold colours evoke moods that will help bring out the narrative.
    •    Co-ordinate and complement colours. Again use the colour wheel to make sure they are in the same pallet.  Keep continuity between colours throughout a page to demonstrate that, but don’t have your whole folio using the same green – vary it.
    •    Limit your pallet on a folio page of samples to show you have a supreme grasp of colours. Muted colours can add a mood, especially in limited light, or if a scene is set with limited colour choices, like a green frog in a green pond in a green jungle, or a brown rabbit in a dessert etc. Besides, it can be very trendy to limit colours!
    •    Use fashion magazines to understand what colours are in.  Check out popular online fashion/shopping websites and even drop the pallet into your own pallet.  Art directors and then the Mums who buy the books for their kids, understand fashion and will make purchases based on what looks right or modern.
    •    Mix it up.  Why can’t a night sky be purple or grass be yellow?  By introducing different lighting into your work – vary the obvious.
 
My favorite website for colour us is https://color.adobe.com/create/color-wheel/ check it out, it will help you through this theoretical science!
 
Continuity of Character
It basically means- can the same characters be re-drawn? You have to prove you can do it with samples in your folio.  It’s one of the most basic and yet often the toughest skills of an illustrator, especially if you have a very naive style. If this is the case, then often there are only subtle differences between the characters. You don’t want the same character pulling the same expression but you also don’t want all the characters to either start looking the same or start drifting into each other.
My best advice is doodle with your character and then set in stone how your character performs, use this as the benchmark before you even start. Sometimes a publisher will want to do this with you – it’s called character development. And don’t be tempted to make changes as you work through the project – you are asking for a re-do!

Child friendly
Are your characters suitable for kids? There is a big difference between Disney or CBBC characters and actors in 18 plus movies. The same goes for Children’s books, don’t have them dressed in sexy clothes, or well developed physically, or too violent, or too scary. In short, no guns, thongs, big breasts, cigarettes or spurting blood. It sounds obvious but it’s so common for illustrators to have in-appropriate characters in a children’s folio. Sure, have them for other markets but not in this folio.
Some illustrators have a different site all together for adult illustration or think of a sure fire way of separating them on your site. There is nothing wrong with having young characters with attitude, hey kids hate “lame” stuff e.g. how the Brats are to Barbie. Having it in your main folio demonstrates that you are not right for this role, it is a big home goal.
 
How old should your characters be?
There is a rule that generally pretty much everyone is interested in themes that are aspirational to them, but not too aspirational – just the next step. This means you can put yourself into the main role ‘with a little bit of imagination.’  You could be the hero in Die Hard or James Bond or the girls in Sex in the City.  Now consider the target age for these stories, they are always just below the age of the characters.
When you are growing up, ‘aspiration’ can be simplified to just a few years older than the target reader, their big sister or brother (because they get to do more).  So a 3 year old likes to read about 5 year olds, 5 year olds to 7, 7 year olds to early teens and so on. Don’t go too far, being much older is scary and often un-cool. There are exceptions of course but on the whole it works, so bear in mind this when designing your characters, even animal ones.
The Children’s Book market is broken into board books (think pages that little fingers can turn), picture books for mums to read to children at bedtime, early reading, reluctant reading and chapter books with simple illustrations, plus graphic novels and reference books. In general, illustrated books occupy the much younger market.  So as a rule, keep your characters young, say 3-8 and you will be in the range.
 
Cute.  Are they are appealing?
Thinking like a casting agent again, your characters need to be attractive on the whole. Let’s see your Brad Pitt’s and Julia Roberts. The supporting characters can have more interesting faces and the bad guys…well, need to look bad!  Stupid guys stupid, clever guys clever and so on. But the most important thing is that the lead guys are attractive/appealing, even if they’re not human characters.  Sorry, I don’t make the rules!
 
Cool- up-to-date
If you are not an ‘A-lister’ you at least need to know who is and why. Stories are being re-illustrated all the time, just like films are re-made, so you have to have a style which was illustrated this year or why would you be chosen to refresh a book? It is a trend led-world and no one is more on top of trends than the target buyer of kid’s stories – young Mums!
You need to know what type of eyes are in, what type of outline (key line) textures, of register colours etc. Check out the new releases in your local bookshop – absorb but don’t copy.
 
Style
Your style is what makes you, you.  But it can be adapted and nudged to a degree, can’t it?  It has to have empathy with the reader’s age.  But also be on trend and decorative – maybe even have some sophistication for the Mum!  You need to get down to the child’s level at least and create work that they will enjoy.  Too trendy or arty and you can patronize the buyer and the kids won’t get it. (Sure some art directors will love it but I doubt it will sell so there won’t be a second!).  Naive characters work best when they are artistically aspirational to kids i.e. you could imagine that the most artistic child in the school could draw this way – i.e. within their reach aspirationally.
 
Compositions.  Set the scene
It’s the location or the scene that will literally form the backdrop for your characters.  Don’t have them all on white and avoid too many cliff-edge compositions (i.e. a foreground but no background to the scene, like they are on a cliff-edge.) Include scenes that can help carry a narrative, as in the girl in the park example above. Do take on popular themes e.g. fairies, trucks even classic tales. This is your chance to be the director of the film so adopt their techniques-
Interesting camera angles can really help set the scene.  Say the story asks for 3 rabbits cowering from a tractor; have the angle perhaps as if you are in the ditch looking up at the rabbits, with the huge tractor filling the page behind them. It will help the reader empathize with the rabbits, as if they are going to be crushed under the wheels. A bird’s-eye view can also emphasize when characters are all together in a circle or one character is on its own.
Silhouettes.  Use these for supporting characters when you want to emphasize a conversation in a busy scene.  The main conversation does not need to be in the centre – just sketching the other characters can work as well.
Split scene.  Use these if you have over-lapping narrative.  It may be too complicated for young children, but really exciting if the text (and Art Director) calls for it.
 
And finally
Look in bookshops regularly, don’t rely on just looking at other artists or agents web sites.  They can throw you a curve ball because you may be looking at a folio of an unsuccessful artist! Check out what is out there on the High Street, especially really classic evergreen work. But hey, it’s all in the movies as well – go for the Oscar!
 
Ed.
CEO & Founder
Advocate Art
– See more at: advocate-art.com/community

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Post by Chloe

Nick Bear is a professional artist with a passion for illustration. His style is bold, colourful and often full of character and humour. This has made him popular among game production companies and his illustrations have featured in some of the world’s most popular games such as Plants vs Zombies 2 and Bejeweled Blitz. If you would like to see more of Nick Bear’s graphic illustrations, please visit his portfolio.

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Amy Ng blogs at Pikaland, a popular stop for illustration lovers, students and artists who are looking for answers on how to find a balance between art, creativity and commerce.

Two years ago while I was attending a conference on children’s books in Singapore, I sat in on a panel that consisted of two writers and an illustrator. The one-hour long talk was about their journey and experience, and how they got to where they were, career-wise. When the Q+A session rolled about, I knew what I wanted to ask – it was at the back of my mind when I saw the slides of their journey and creative processes. It slid off my tongue: “How do you guys earn enough to do this for a living, since you only produce about 2 books a year?” 

The room buzzed a little, and murmurs could be heard. It turns out it might be a little sensitive – this topic about money. But I had asked in earnest, because their achievements were not to be scoffed at. However, it didn’t add up, because we all know how long it takes a book to get published. And was there a secret to holding out for a paycheque to cash out in the meantime? It wasn’t meant to put anyone down – I was just really, really curious.

Their answer? Both of them had part-time jobs unrelated to writing/illustrating. They were frank: they couldn’t possibly live off from their books (not at the moment anyway). They told the crowd that having a part-time job freed them of the pressures of having to rely on their books financially – which would ruin their experience of writing/illustrating one. 

It made a lot of sense. And I was thrilled that they didn’t sugarcoat the experience. They told the practical side of a story that not many people care to hear about. Maybe it ruins the perfect illusion – one that spreads the idea that artists are supposed to come out the other end, triumphant after years of struggling alone, working hard on their craft. Although some might find it a silly or even inappropriate question to ask (It’s too personal! No one wants to hear the negative stuff!), I felt it was important. And it’s a pity no one talks about it more within the creative field. 

Beyond the encouraging (and yet irritating) shouts of “Work harder!”, “You’re not doing enough!” and “You need to get out there more!” that’s ringing in the ears of every artists who has tried, failed and tried again, harder; it can mean so much. It means that the idea of an artist, sitting behind their desk, deep in the flow of creating work with no other obligations (financial or otherwise) besides their 100% focus on their art, might be a reality that’s not in line with what a lot of artists are facing. 

Yes, there is a percentage of artists who are able to do it full time, but they add a whole lot of other things to their repertoire too – some teach, some freelance on the side, and others pick up part-time jobs to substitute their income. Besides art patronage (which is harder to come by these days), there’s another way; one that’s not talked about more:  sponsorship. This article – “Sponsored” by my husband: Why it’s a problem that writers never talk about where their money comes from – is a really great article about how artists are doing a disservice to others by not being honest about how they got to where they are. Replace “writer” with “artist” in the article and there’s not much difference – we’ve all gotten help along the way. The question is how much? Was it through your own efforts, or by someone else? No one really talks about where their money comes from (or maybe there’s not enough frank conversations around it to begin with in the first place). 

Some might not need to make money from their art – for some, the love of process is enough. But for many, the financial lift from selling their work isn’t just about making a living. It’s a sign that they’re doing what they love – and are being loved by others as well. Call it validation. Or maybe the fact that it could signal the beginning of a viable business (and no, it’s not a bad word). It’s a value system that rings higher than just dollars and cents.

Taking on another job – part-time or otherwise, doesn’t mean that you’ve hung up your artist hat for good. It just means that you’re being pragmatic and realistic. Money pays the bills and keeps the light on. It keeps your fingers warm enough to move when the temperature outside is freezing. It keeps you from hunger and pain, and it buys you supplies needed for you to work your magic. Above all, having a bit of money ensures that your basic needs are met, so that you can focus on creating great things.

Taking on another job – part-time or otherwise – is also a great way to add another dimension to your work, particularly if you have interests that run outside of art that you can capitalise on. Or perhaps you’re merely taking on extra work to fill the the gaps financially, and are not really into whatever it is you’re doing to help pay the bills. That’s fine too. Whatever works for you. Just remember: if you start to have a strong, adverse reaction to work outside of your creative interests, perhaps it’s time to take a step back and re-evaluate the impact it will have on your art. 

It’s a fine line to tread. You don’t want to be too comfortable that you neglect your art, but you want to earn enough so that you can take the edge off from financial burdens. So what’s the best way to go about it? Pick something that you’re good at. Something that you can do quicker, or better than others. Do something that comes second nature to you (and I’m not talking about lying back on the couch going over Games of Thrones).

I know a few people (myself included) who look for avenues where they can separate their emotions from work. In other words, they are able to distinguish and remove themselves emotionally while completing the task at hand. For example, if you’re a designer during the day, you’ll be using up a lot of creative energy – which makes it a bit harder to squeeze out creative juice for your own personal projects come night-time. The goal is to find that sweet spot between your interests and also what you’re good at – which you might find has no relation to art at all. I’ve known artists who are also accomplished accountants, gardeners and even magazine writers (yours truly).

So throw out the outdated notion of being a starving artist. Keep your hands busy and get out there while you scale your creative heights. Find a job if you have to – so you won’t have to sacrifice your artistic integrity or worry about things like being too hungry to think properly or if you’re struggling to stay afloat under the constant pressure of being evicted from your home. You’ll be able to stay true to your voice and your goals, and enjoy the artistic freedom it offers you.

One caveat though: don’t let the need or want for stability rob you of your passion in the first place. 

It’s a fine line to tread, but that’s a whole different subject altogether.

[Illustration: Jean Jullien]

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In preparation for their upcoming online workshop Building a Freelance Illustration Business, Illustrators Salli Swindell and Nate Padavick followed up their article 20 Pieces of Advice from 20 Illustrators by asking art directors for a brief, top-of-mind response to the following question:

“Why would you hire a freelance illustrator a second time?”

Art Directors are a very busy bunch and we thank them all for their time and thoughtfulness.Read on for their insightful responses. Also be sure to check out Salli and Nate’s educational and inspiring online workshop: Building a Freelance Illustration Business here.

 

HANNAH RAHILL

VP Associate Publisher, Ten Speed Press

“I would hire a freelance illustrator for a second time if they over delivered! Skill, flexibility, patience, and collaboration are what I value most.”

 

KATHY MCCONAUGHY

VP Creative Development , American Greetings

“I would hire someone again based on the quality of work and how hard I had to work to get it.”

 

JULIE GOH

Art Director, Going Places, Malaysian Airlines In-Flight Magazine

“I would hire a freelance illustrator for a second time if he/she was someone who is conscientious and delivered his/her work on time. It’s very likely that he/she would have already been producing the kind of work I like as otherwise I would not have hired him/her in the first place.”

 

CECI BUTLER

Art Director, Design House Greetings

“Well I am assuming that I like their style and art or I would of not have hired them the first time. I will hire them again and again if – I find the artist easy to work with – fun, pleasant, open to feedback. They have to be willing to tweak their designs to fit our needs and art direction. I know that many artists are concerned about their look and their brand but we need to ensure that our product will sell and if that means we need to alter the image we need to have artists who are willing to work with us.

If they provided the above and get their work in on time and in a professional format I would hire them again.”

 

LYNNE SHLONSKY

Senior Art Director New Product Concepts, American Greetings

“Awesome delivery of the goal ON TIME.”

 

CAITLIN WILSON

Associate Product Manager, Mary & Martha

“There are 4 things I look for in every freelance illustrator we work with:

~The illustrator’s raw talent
~Their ability to take a design concept and creatively flush it out
~Effective collaboration and communication with director ~Timeliness.”

 

JEREMY BLACK

Managing Partner, Jasper + Black

“We work with design talent globally and two attributes set apart those we work with again: project management and communication:

Project Management: It’s critical that our collaborators understand the importance of managing against deadlines. There is nothing more frustrating or disappointing than receiving questions about the project a day before it is due. We need our collaborators to set aside time to think, develop, revise, and finalize. Decline a project if you don’t have the time, I’ll respect you more for it.

Communication: From confirming the receipt of a creative brief, providing a timeline and budget, to discussing the creative brief in further detail, communication is critical. Know when the phone is better than email to communicate, and vice versa. If you have specific questions or want to provide an update, use bulleted emails … it helps even the poorest of writers to organize their thoughts.”

 

FOREST EVASHEVSKI

Art Director, Wall Street Journal

“I usually hire an illustrator a second time if they are easy to work with and timely.”

 

TOM VITUJ

Senior Director of Creative, Design Design, Inc.

“I would hire an illustrator a second time if:
~Their designs were current and on trend with what I was looking for.
~They were flexible and easy to work with.
~Their art files were very well organized and complete. ~If I needed additional art to complete a product…such as art for a gusset on a paper gift bag or a border on paper tableware, and they were happy to oblige.
~They used our contract and made few or no revisions to it.

 

COLLETTE KULAK

Senior Creative Planner, Hallmark

“My answer would be that they meet or exceed my main goal of the project (assuming it’s a visual one). They deliver what I’m looking for and hopefully more…over and above would guarantee a second time with them.

Note – deadline also plays into it of course, a fast worker is a dream but the end goal is to get the visual I need. ”

 

MARY ANN HALL

Editorial Director, Quarry Books and Rockport Publishers

“When you get the work, and you just say YES. This nails it. This is finished, perfect, thought-out, ready to sail. Or, if you want a little tweaking, they are flexible and happy to accommodate, explore different options, and just keep trying things until everyone feels it’s right. Either scenario leaves me wanting to work with someone again.”

 

PATTY FLAUTO

Color & Design Consultant

“Low maintenance – they need to prove themselves before asking for this, that and the other.”

 

KRISTEN HEWITT

Design Director, Chronicle Books

“The main thing I would consider before hiring a freelancer for a second time, apart from the quality of their work, would be the experience that I had working with them the first time. Was it a good work experience? Were they pleasant to work with? Were they good communicators (i.e., did they ever go M.I.A. for a period of time and/or never email me back—more people than you would think do this!)? Were they (relatively) on time with their deliveries? These are all questions I would ask myself and the answers would factor into my decision to work with a freelance illustrator again.”

 

LORI PEDRICK

Art Director, Yankee Magazine

“My answer would really be related to collaboration. Of course skill and ingenuity is key but one of the most important things for me when working with freelancers is the ability to collaborate and offer resourceful solutions to problem solving and a collaborative spirit knowing that with editorial there is a team-like atmosphere and remembering that they are working for a client and while they are being hired for their aesthetic and style, there needs to be some level of flexibility.
As a side note, I always tell any creative who asks about how to pitch to a client, you really need to know their brand and their following or their brand identity and who their core readership is. I wouldn’t propose your work unless you really know that brand and feel that your work is suitable. That is the best way to get noticed, show the client how your vision fits into their brand.”

 

MADGE BAIRD

Managing Editor, Gibbs Smith

“I would hire an illustrator for the second time because the first time they were able to creatively respond and adapt to art direction for the first project.”

 

ROGER FRANK

Partner/Creative Director, Little Jacket

“If the working partnership was as remarkable as the work product, then I’d gladly hire a freelance illustrator a second time.”

 

ELIZABETH STUMBO

Art Director, Meredith Corporation

“I would gladly hire an illustrator a second time who has proven that they can be flexible and are not only willing, but happy to make changes to their artwork to better align with editorial content and opinion.”

 

DAWN EIDEN

Studio Director, CSS Industries

“I would hire a freelance illustrator the second time around if they met the deadline, provided organized, user friendly files, understood the product and end user and checked in before the assignment was due for feedback.”

 

SALLY FARR

Art Director, Telegraph Media Group

“If I had had a good experience working with an illustrator before, I will use them again. It’s a given that I like their work for the appropriate job. Keeping to deadlines is key, and where clients are involved, it’s even more important, as with those jobs, we have to take into account various other people and deadlines too.”

 

SALLI S. SWINDELL

Co-founder of They Draw & Cook, Studio SSS

“I would hire an illustrator again and again if I could sense a bit of their personality and joy in the art. Otherwise it feels like assembly line imagery. I like to think the artist enjoyed the project.”

Thanks to Salli Swindell and all the Art Directors who shared their thoughts. Be sure to check out Salli and Nate’s upcoming 3-Day online workshop: Building a Freelance Illustration Business.

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Amy Ng blogs at Pikaland, a popular stop for illustration lovers, students and artists who are looking for answers on how to find a balance between art, creativity and commerce.

I like to challenge conventions and ideas alot.

And one of the topics that I can quickly get hot under the collar about is the topic of education. I think it’s a field that needs to be challenged, especially in this day and age where information runs freely and so abundantly. I’m not against the idea of learning. Far from it – I’m challenging the idea that learning needs to be in a formal environment, for a minimum of 2 to 3 years, learning about things that ultimately do not help you get to where you want to be.

You see, I get a lot of questions about pursuing a Masters degree, or even a diploma in a field that they love, i.e. art or illustration. And if you’re a student who knows what you want, and you have the means to go to a college or university, then by all means, go for it. But only IF you want to and feel very strongly about it and know what you want to get out of it. For the rest who don’t know what you want or can’t afford to go to college or university, then this article is for you. For those of you who don’t know whether to continue your education or not, then this is for you too.

I spent 5 years in a public university and graduated as a landscape architect back in 2004. I spent my life following a very predictable arc – primary school, high school, university, and then work. Only I didn’t work in the field that I graduated from. I felt that I didn’t belong, and after 6 months of intense internship where I gave it my best shot, I decided that I wasn’t suited to being a landscape architect. I hated the long hours, and the red tape that governed each project. I hated dealing with contractors and having my design torn to shreds due to shrinking budgets. And I hated AutoCAD with every fibre of my being. So much that I did my technical drawings manually (i.e. completely by hand) during my final semester when everyone else was doing theirs via computer.

So when I graduated, I turned to publishing immediately. What made me go to a publisher with nary a resume and no work history to prove my worth? Instead of focusing on what I didn’t have, I demonstrated what I could do instead. I wrote up an article and laid it out in Adobe Photoshop, to give an idea of the sort of articles I think should appear on the magazine. I got a callback for an interview and was hired on the spot as an editorial assistant. You wouldn’t believe the amount of push back I got from my peers and my parents about going for a job that required skills I didn’t learn in university! People said it would never work, and that no one would hire me – not without a Mass Communication or a journalism degree. I challenged it and proved them wrong. A few years later, I even went on to helm an architecture and design magazine as an editor; and even started a regional design magazine for a publisher. My years of education went full circle back then – my years of studying architecture and design made me very much sought after in the publishing industry.

Was my 5 years spent in university a waste of time? It’s hard to say – and I say this with the utmost affection for the time I was there. I probably might not have met my husband if I wasn’t there (he was a classmate). I’ve met wonderful teachers. But I’ve also found teachers outside the system by my own efforts. Maybe I was just lucky, considering how back then we didn’t have the choices that’s available these days. The internet was still in its infancy, and I was young and didn’t know where to look. So we followed along a very linear path – one that our peers took. And the ones that our seniors followed before that. I do wish however, that I could have cut the time I spent in university in half, although it wasn’t something that I could control. I wished that I had travelled more and explored student exchange options overseas. Maybe that’s it.

On the upside: I’m grateful for learning more about fine arts, design and the experience of working in a studio through my time in university, and for the friends I made along the way. I made sure I was in control of what I wanted to learn – I enrolled in a degree that taught me the basics of design and art, even though deep down I knew that I might not work in the field I studied in. The reasons for doing so was a little complicated – I didn’t have access to a lot of courses in public university, and I didn’t go to a private college because of financial restraints (I didn’t want to get myself or my parents in debt). I made sure that the lessons I learnt, however, can be applied to virtually anything I was interested in life.

And that’s what I want people to know.

That you’re in control of what you do. That you can choose to learn at your own pace and to create your own outcome. That you don’t need a title to define yourself – you’re better off focusing on the things you want to learn, rather than what you will call yourself at the end of a degree. That you’re no longer following a linear path – you have a wide open field at your disposal. And yes, that may be terrifying at times, but it’s also a very exciting time.

I set up the Pikaland blog in 2008 precisely because I didn’t know much about illustration. I wanted to learn more from the artists I saw online. I saw their work, and I devoured their bios and statements; and went looking for patterns in their work so that I could try to get a glimpse of why they chose to create the way they do. It was always about ideas, and not so much about their techniques.

For 7 years (it’s approaching 8 now!) I learnt on my own. I saw thousands of illustrations, read thousands of bios, artists statements and concepts; talked to hundreds of artists and learnt what I could about this unique career – one that has changed so much throughout the years. My personal accomplishments include being an illustrator, art director and educator. And I want to give back to people, and show others that it can be done. I took control of my own education, and I now I teach others how to do the same at a local college, and online as well.

And it’s the best feeling in the world – the thought that I could do whatever I wanted, if I put my heart into it.

I’ve come out the other side – still learning as I go along – and I’m happy to say this: so can you.

[Illustration by Lim Heng Swee of ilovedoodle]

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Illustration by Thomas James

It can be dangerous to spend too much time comparing your own Illustration work to that of your fellow artists, but there are times when it can be beneficial to your art and your business.

I’m sure we’ve all found ourselves getting caught in the trap of unhealthy comparisons. It can be easy to find yourself looking at someone’s art and marveling at how much better they are than you, or how much more successful. This only results in feelings of doubt and uncertainty, which can wreak havoc on your creative output. If you find yourself in this situation, maybe it’s time to back off and return to your own voice and think about what is unique about you.

However, it is also a mistake to go too far in the opposite direction and close yourself off from your fellow Illustrators altogether, thereby passing up opportunities for personal, professional, and artistic growth.

Healthy Comparison

There’s no doubt that paying attention to your fellow Illustrators can be a great learning experience when done in moderation. There are so many things you can learn from the ways that other people communicate visual ideas, promote their work, design their website, etc.

Whenever you come across an Illustrator that inspires you, take a moment to think about what it is that’s grabbing your attention.

Have they tackled a topic in a way that you might not have considered?

Do they have a unique skill or technique that you can develop within yourself?

Are they running their business in a way that you can apply to your own situation?

Questions like these can help to turn simple admiration into a more studious approach that can make you a better Illustrator. No matter what level of experience or talent you consider yourself to be at, growth and education should be a regular activity, lest you become stagnant and complacent in your craft.

The important thing is to be mindful of the ways that you can take the things that you learn from other artists and make them your own without simply copying their approach.

Do you consciously study the work and practices of your fellow Illustrators? What are some things that you’ve learned by doing this?

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Amy Ng blogs at Pikaland, a popular stop for illustration lovers, students and artists who are looking for answers on how to find a balance between art, creativity and commerce.

Ah, the internet. What would I do without it? It’s a portal that bounces me from one wonderment to the next – an inspiring road trip filled with jaw-dropping illustrations and illuminating interviews, with sideshow attractions of fun video tutorials to community hangouts for every niche under the sun. The internet is the gateway to inspiration on demand, and it seems like the more sidetracked I get, the hungrier I get for more.

When you have a source that beckons with creativity and inspiration 7 days a week and 24 hours a day, it’s easy to be sucked into a loop. There’s always something interesting a mere click away. I know for a fact that I’m not alone in my predicament. In the age of Pinterest, Facebook, Twitter and the many infinite scrolling art & design websites (I liken it to a bottomless well of beautiful things just waiting to be discovered) – what does this mean for artists?

The National Centre for Biotechnology Information’s research in April 2015 has surveyed that the average attention span of people in 2015 is now 8.25 seconds, compared to 12 seconds in the year 2000. That means our capacity for holding attention is 30% less compared to 15 years ago – and it’s not surprising, given how our brains are hard-wired to crave new information; according to Bruce Morton, a researcher with the University of Western Ontario’s Brain and Mind Institute.

With each click leading to the next and the more information we devour, the novelty wears off quickly, and off we go in search of better, more beautiful, more interesting things. It’s nasty cycle that perpetuates itself; leading to a host of other problems like a lack of productivity (hey, where did the time go?), procrastination (just one more website!) and for some, the inability (or reluctance) to dive deeper; to analyse and synthesise the information they’ve already visually absorbed.

I’ve talked to college students who were confused by it all – there was no lack of inspiration, and yet they weren’t inspired. They grew up with the internet being a very big part of their lives, and yet they seem to be suffering from inspiration fatigue, and couldn’t understand why. One theory that I brought up was that perhaps they’ve been looking at what was already completed and done by other artists, therefore subconsciously they didn’t need to figure out the process for themselves (hey, since it’s already been done!) Replicating something visually without finding out the underlying thought process behind it all is just like skimming the water without knowing its depths. It’s also a little like eating junk food all the time, which tastes great but isn’t very good for you.

I recommended my students to try and be more conscientious of the information they took in. Instead of merely looking at the aesthetics of the many works of art in front of their screen before jumping to the next, how about they pause for a moment and focus on finding out more details about it instead? Dig through archives of the artist’s work, and perhaps catch a glimpse of their process. Maybe it works and maybe it doesn’t (the ails of over-inspiration runs far deeper), but the reminder to dig vertically instead of mindlessly pacing horizontally might just be a good start. I needed the nudge too as I’m sometimes guilty of the same.

It’s times like these that it’s useful to remember Charles Eames’ quote: “Art resides in the quality of doing, process is not magic.”

Maybe we don’t really need more inspiration. We need more doing instead.

[Illustration by Neil J Rook]

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In preparation for her awesome upcoming online workshop Building a Freelance Illustration Business, Illustrator Salli Swindell decided to reach out and get some thoughts from other artists. The question was “What’s one piece of advice you would share with other illustrators?” This is testament to the fact that Salli is doing her best to make the workshop as useful and helpful as possible, and she has graciously shared the results with Illustration Friday!

Meet 20 artists below and read what they have to say! Also be sure to check out Salli’s educational and inspiring online workshop: Building a Freelance Illustration Business here.

Coming soon: Part 2 – Advice from art directors.

Thanks to Salli Swindell and all the artists who shared their thoughts. Be sure to check out Salli’s upcoming 3-Day online workshop: Building a Freelance Illustration Business.

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We all have down days as creative’s, when whatever we draw just doesn’t turn out how we envisage in our heads. We screw up countless balls of paper to add it to the emerging mountain of sketchbook remains behind us and we just feel our art isn’t good enough.  Now believe it or not despite the fact that feeling despondent with our art is a natural thing that every creative goes through from time to time. It can be used to push us into being more brave and exploring new avenues we hadn’t before. It’s when we produce creative work with a closed mind that things can become to narrowed down and you’re just not sure what to do to make art you’re confident in.

So here’d a few ways to boost that creative confidence, regain that part of yourself that knows you’re good enough and how to present that artwork with pride!

 

•  Draw things you get excited to draw : Although creative trends do help in our industry to produce work of interest to different markets, it can over time wear you down drawing things that don’t inspire you. This is why drawing things that make you smile, get your head reeling with ideas and heart filled with enthusiasm that you will be more happy with what you draw.  You’ll be less likely to second guess yourself and people will connect with your joy and enthusiasm for the art you make.

 

• Think outside the box  : Taking a little inspiration from people around you can really refuel your creative energy and give you a boost to take your art in a new direction. For example you might take inspiration from a creative whose just launched a new project and think ” Wow if I tweaked this with my artwork in my own way then maybe the outcome would be better”. This is can also be used when you’re looking to expand your creative reach or  acquire that dream client. Don’t copy others but take a little inspiration and make it your own.

Illustration featured in this post was created by illustrator Jessica Richardson, you can find out more about her work here. 

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How can you tell if a piece of writing is strong? Whether you’re editing for a publishing company, working as a freelancer, or self-editing, correctly assessing the quality of the work is imperative. In this excerpt from The Editor’s Companion, Steve Dunham discusses four marks of good writing and how you can recognize them in every piece you review.

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1. Good Content

Communication, even in writing, requires two people. Every time a writer begins putting words together for publication, one fact should always be foremost: The writing is (at least partly) for the benefit of someone else. Even if a writer begins without a specific audience clearly in mind, the goal of communication remains. The writing must achieve a link between author and reader.

The editor, too, must always remember the reader. Both writer and reader may benefit from written communication, but editing is done primarily to benefit the reader, to smooth the process of communication.

The content of any piece of writing ultimately must be of personal interest to the reader. From news headlines to novels, from apartment leases to the Bible, every piece of writing attracts readers by providing something that concerns individual people.

An editor faces the task of taking a piece of writing and heightening its relevance to those individuals who constitute the publisher’s readers or market.

2. Focus

Each sentence, says editor Margaret Palm, should convey one idea. So should each paragraph and each chapter, with the ideas becoming more general as the writer progresses up the scale. This sort of cohesion does not limit the number of ideas a writer is able to communicate; rather, it organizes them. Focusing on one idea at a time makes for clear, direct communication. It does not leave the reader guessing where the writing is headed. It does not distract the reader with digression. Instead it takes a general idea as the subject of a chapter, develops an aspect of that idea in each paragraph, and provides details in every sentence. Focused writing, like a focused photograph, presents information clearly.

The classic style of newswriting, with the “most important” facts at the top, followed by less and less important facts in descending order is called the inverted pyramid. Inverted pyramid leads begin with who, what, when, where, why, and how, all in a few sentences.

Those five Ws of journalism also provide a guide for both writers and editors of nonfiction. In a news story, the writer must tell the reader who, what, when, where, and why—preferably in the first paragraph. Although not all nonfiction needs to be as compact as news writing, the editor must be sure that the basic facts are communicated.

Even in fiction, the five Ws need to be addressed somewhere in the story, although depending on the genre—mystery, for example—key parts of the story may be withheld until the end.

3. Precise Language¹

The writer’s biggest job is that of combining words—and often numbers and graphics—to share ideas. Organizing the material and choosing precisely the right words require more effort than just writing down what is in the writer’s head. The knowledgeable writer possesses information or ideas that the reader does not. To make that information accessible, the writer must use words that the reader understands (or explain any that the reader does not). The writer must choose which information to include and must decide what is superfluous or would burden the reader. Appendices, footnotes, and bibliographies are all communication tools. So are abbreviations. They help the reader understand what the writer has to say.

The editor’s job is to help the writer communicate with the reader, and just about all of us—including editors—need some help with our writing. Sometimes we have a little trouble saying what we mean. Editors do make sure the commas are in the right place. (It does make a difference: My favorite comma error was in an ad in the church bulletin for a supper hosted by the youth group; it read, “Don’t cook Mom!”) Editors also do a lot more, ensuring good content, focus, precise language, and good grammar.

Editors are on guard for much more than missing commas, however. Writers might, for example, get a little repetitive: “The analysis phase of the project consisted of analysis,” stated one report I read. A job ad required “program related experience in related areas”—one of those “necessary conditions that must be met.”

“Better say nothing at all. Language is worth a thousand pounds a word!” as Lewis Carroll wrote in Through the Looking-Glass.

The reader’s time is worth something, too. Let’s not waste it by stating the obvious. If our work is read voluntarily, we will lose readers if we waste their time. Often, though, we may be editing a piece of writing that people are obligated to read, and we owe it to them to communicate simply and clearly.

In The Island of Doctor Moreau by H.G. Wells, the Monkey-man— a monkey that Doctor Moreau had been trying to turn into a human—“was for ever jabbering … the most arrant nonsense” and “had a fantastic trick of coining new words. He had an idea … that to gabble about names that meant nothing was the proper use of speech. He called it ‘Big Thinks’ … He thought nothing of what was plain and comprehensible.”

Writers can commit Big Thinks by using imprecise language or misusing words entirely. Some writers may impress themselves by using big words they don’t understand. Utilize may sound more impressive than use (but has a specific meaning of its own: to find a use for). Comprise is not the same as compose (it means “be made up of,” as in “New York City comprises five boroughs”); a nation-state isn’t merely a sovereign country (it’s the country of a single nationality); coalesce isn’t transitive (things coalesce, people don’t coalesce things). Emulate means “do at least as well as,” but imitate, the word that is more likely appropriate, doesn’t sound nearly as impressive. Respective is often used where it is not needed, as in “The adjutant generals report to their respective governors”—well, of course they report to their own governors. Writing to impress oneself or others is what editor Dave Fessenden called “the curse of Babel.” He pointed out that people built the Tower of Babel to make a name for themselves and ended up with their language confounded—a result still obtained by vain and pompous writers, he said.

Editors must be alert to misused words. Words Into Type has an excellent twenty-three-page list of “Words Likely to Be Misused or Confused”; The Elements of Style has a similar list, and Merriam-Webster’s Collegiate Dictionary has usage notes for many entries.

In his book Doublespeak,² William Lutz described another way of misusing big words: “gobbledygook or bureaucratese … a matter of piling on words, of overwhelming the audience” or “inflated language that is designed to make the ordinary seem extraordinary.” That language is meant to impress, and specifically to deceive, the reader.

Aside from writers who deceive themselves, readers are usually the victims of misused words. As William Safire wrote in his book In Love with Norma Loquendi,³ “Meanings can be assigned to words to suit the speaker, corrupting communication and derailing intelligent discourse.”

For example, one job description stated, “Demonstrates technical achievement at the highest Government and corporate levels.” In plain English, what does that mean? It sounds as if the job applicant must have been president, chief justice, or speaker of the house. Such overblown prose corrupts communication and derails intelligent discourse, to borrow Safire’s wording.

When writing and editing, let our first concern be the reader. Let’s not try to impress anyone, least of all ourselves. Instead of engaging in Big Thinks, let’s pursue the goal of “plain and comprehensible” communication.

4. Good Grammar⁴

“I don’t care about grammar,” a writer told me when he brought his article in for editing.

In fact it seemed that the writer, like many others, didn’t care about a lot of things.

“This merger does not seems to posse any intimate security risks to the United States” was one statement in the article. I called out the posse of language deputies; we changed posse to pose and fixed dozens more errors, grammar and otherwise. We had to query the author to find out what intimate was supposed to be (he’d meant to use immediate).

Unfortunately this writer was not alone. Not in making mistakes—we all make those—but in not caring. George Orwell cited two common faults in English writing: “staleness of imagery” and “lack of precision. The writer either has a meaning and cannot express it, or he inadvertently says something else, or he is almost indifferent as to whether his words mean anything or not.”⁵

If a writer doesn’t care about grammar, the writer at least should care about the reader. If you have something worth saying, then care about communicating it.

The editor, who is assisting communication between writer and reader, must scrutinize every piece of writing that is intended for publication and, to the greatest extent possible, make the text conform to the marks of good writing.

Author Stephen Coonts, in a July 2001 interview with Proceedings of the U.S. Naval Institute,⁶ discussed the editing of his books (the Naval Institute Press published his first novel, Flight of the Intruder).

Proceedings: How were you treated, editorially, at the Naval Institute Press, compared to your subsequent publishers?

Coonts: The Naval Institute is unique, because it probably publishes more first-time writers—not so much first-time novelists, but first-time writers—than any other publishing house I know. So for me it was a great place to learn how to write by working with the editors and to learn how to get a manuscript up to what is called “commercial quality.”

Subsequently, I went to Doubleday, where they have a line editor who looks at the manuscript and puts in some commas and takes some out. How you wrote it is the way it’s going to be in the book. It’s tough for most beginning writers to get their prose ready to be published. It was a really great educational experience at the Naval Institute. I worked with a great editor, and I learned a lot.

Proceedings: So you’d say you were edited more at the Naval Institute Press?

Coonts: Yes. They edited the living hell out of the book. I think they overedited some of the passages. In some cases they improved it; in some cases they made it worse. Looking back, I don’t think they had much faith that I knew what the story I was telling was all about. On the other hand, the folks I worked with knew their English, and what a sentence was, and how the prose had to come together. On balance, it was a great learning experience for me.

As Coonts pointed out, editors make mistakes, too. Sometimes we attempt to improve clarity and end up muddying the water instead. Worse, we sometimes accidentally change the correct meaning to something incorrect. “One of my greatest dreads as a copy editor is that I will change something to make it wrong,” wrote copy editor Laura Moyer in her Red Pen blog.⁷ “Changing things on the proof is risky, as it raises the possibility of introducing an error while attempting to correct an existing one,” she wrote in another blog entry.⁸ Editing for focus, precision, and grammar are essential and less hazardous than editing for content, which requires some knowledge of the subject matter.

Furthermore, overconfidence can lead to wrongly second-guessing an author’s meaning. An editing error in Under Two Flags: The American Navy in the Civil War by William M. Fowler, Jr.,⁹ led to a cure that was worse than whatever the supposed illness was: “Galena was far smaller than New Ironsides, 738 tons versus 3,486; her topsail schooner rig and exaggerated tumble made her home immediately recognizable.” When I read that, I suspected that it should have read, “… her exaggerated tumblehome made her immediately recognizable”—tumblehome being the inward curving of a ship’s sides as they rise (some ships, anyway). Galena indeed was immediately recognizable because of her exaggerated tumblehome (see the photo). Evidently the nautical term tumblehome was unknown to the editor, who rearranged the sentence into immediately recognizable words (the author confirmed that this was an editing error but added, “Alas, I read proofs”).

An extreme example of second-guessing the meaning was a reference to a story in the Atlanta Constitution headlined “Mock Bioterror Attack Spooks Some in Denver.” Someone citing it decided it was a mistake and, in a footnote, changed it to read, “Mock Bioterror Attack Some Spooks in Denver.”

Both the word tumblehome and the Atlanta Constitution headline were verifiable with a little research. Second-guessing the meaning (rather than looking it up to verify it) is one hazard for editors.

Arthur Plotnik, author of The Elements of Editing, noted another: Editors “must stop short of a self-styled purism and allow for some variety of expression.”¹⁰ All editing requires care to ensure that the writing communicates better than it did in its original form.

Plotnik posed ten questions for editors to critically examine their own work:¹¹ Has the editor

1. “weighed every phrase and sentence … to determine whether the author’s meaning” was preserved?
2. “measured every revision … against the advantages of the author’s original”?
3. “pondered the effectiveness of every phrase”?
4. “studied every possible area of numerical, factual, or judgmental error”?
5. searched “for typos and transpositions, especially in” parts that were “retyped or reorganized,” and “edited and proofread” the portions altered by the editor?
6. “groveled in the details of the footnotes, tables, and appendices”?
7. “cast a legal eye upon every quoted phrase, defamatory comment, trade name, allegation, and attribution”?
8. “stepped back to consider the impact of the whole as well as the parts”?
9. “provided all the editorial embellishments to the text—title, subtitle, subhead, author notes, sidebars …”?
10. “cleared every significant revision and addition with the author?”—if that “is the policy of the publication.”

As Plotnik’s list indicates, editors must be certain that they are actually improving the author’s writing. Overconfidence comes all too easily, and we need to handle the author’s creation with care.

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This article was excerpted from The Editor’s Companion by Steve Dunham. Filled with advice and techniques for honing your editing skills, this book provides the tools you need to pursue high quality in editing, writing and publishing—every piece, every time.

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Footnotes

1. Portions of this section appeared in Precision for Writers and Editors, September 1999; “Writing for Everybody,” Precision for Writers and Editors, spring 2001; “Better Writing: Stating the Obvious,” Transmissions, June–July 2001; and “Big Thinks” and “Word Abuse,” Precision for Writers and Editors, Autumn 2001; all copyright Analytic Services Inc. and are used with permission.
2. William Lutz, Doublespeak (New York: Harper & Row, 1989).
3. William Safire, In Love with Norma Loquendi (New York: Random House, 1994).
4. Portions of this section appeared in Precision for Writers and Editors, September 1999, copyright Analytic Services Inc., and are used with permission.
5. George Orwell, “Politics and the English Language.”
6. Fred L. Schultz, “Interview: Stephen Coonts,” U.S. Naval Institute Proceedings, vol. 127, no. 7, July 2001, p. 68.
7. Laura Moyer, “Rock. Copy Editor. Hard Place,” Red Pen blog, Fredericksburg, Va., Free Lance–Star, June 7, 2011.
8. Laura Moyer, “Lie/Lay. I Had to Tackle This Sometime,” Red Pen blog, Fredericksburg, Va., Free Lance–Star, Aug. 2, 2011.
9. William M. Fowler, Jr., Under Two Flags: The American Navy in the Civil War (New York: W. W. Norton, 1990).
10. Arthur Plotnik, The Elements of Editing, p. 3.
11. Arthur Plotnik, The Elements of Editing, pp. 35–36.

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Post by Alice Palace

Elise lives in Montreal and draws lots and  LOTS of wonderful monster characters – but the illustrations I love best are her children and animals…

 

Take a look at her website

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