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This fundraiser is simple. You give $3 to RIF at the Macy’s register, and you get a coupon for $10 off your purchase of $50 or more.
With only 1 book for every 300 kids in need in the United States, the support from Macy’s and customers like you makes a real difference in our ability to get books to kids who need them most. And this campaign is a win-win. You save and you help RIF get books to kids. There’s also even more saving to be done with Macy’s One Day Sale happening this weekend in stores nationwide.
Even if a Macy’s store isn’t in your area, you can still get involved through our online sweepstakes. You’ll have a chance to win a $500 Macy’s gift card and help us spread the word about the campaign.
What an amazing day. I was first invited to Mass Art Portfolio Review day last year. This year, Irena Roman invited me back for another go, and I was so happy to oblige. This is one day when I can talk to these bright, talented young artists and find out what direction they are most drawn to. I get to look at their work and, from my own perspective and from listening to their goals, I can give them useful feedback and advise them. It's such a great feeling to be able to chat with these artists.
Basically, the illustration graduating class file into a room where reviewers line the edges of the room. Illustrators choose a reviewer to talk with for 15-20 minutes and then move onto another reviewer of their choosing. We all wear name tags and our posts are clearly marked with our professions, so they know where we're coming from.
the process is informal, not uptight. It's a chance for the kids to talk to creative professionals from all walks. They might be interested in working the fine art print market, or children's publishing, or editorial, or any number of markets. The point is that we are here to give them feedback based on what we bring to the table and where they are coming from and where they want to go.
It was such a whirlwind day that I did not remember my camera. My friend and guru Carol Eldridge did bring hers, however and she managed to get s a nice helpful student illustrator to take a picture of us (which I will link here once she posts it.)
There were several students who showed an interest in children's publishing. Here are some points I feel are important to putting together a good children's portfolio. I may not have had to hit every one of these points with someone today, but
About the art process itself... • Be a ruthless critic about eyes. This may sound really trivial, but eyeballs are very important and they have to be relatable and convey emotion and personality, but also work with the character and the facial expression. If your eyeballs are too stylized, cold, cartoony or whatever whatever, just be brave and go and experiment with your eyes (which consequently will also eventually encompass the face and then the entire body of your character. Oh well what can you do!). Experiment until you can really feel great about your eyeballs. Don't worry if it takes years. Take years. You can still work while you take years. Just don't stagnate-continue to evolve, don't be afraid to do this. It's how you grow.
• Find a way to love and become one with full, rich and saturated color. The children's industry craves color. This is a simple fact. You are more likely to work if you work in juicy color instead of light, soft washy, beach bleached color. I am not suggesting you sell your soul here, I promise. You can evolve a style that works for both YOU and for the industry, I PROMISE. If you work in a softer medium (like watercolor) and would like to evolve while maintaining the integrity of your medium, this will require some experimentation. You may have some growing pains, but you can do it. I did!
• Anatomy of any living creature you draw is incredibly important. the line/painting style in which you utilize to execute the illustration doesn't matter if the "bones" aren't there. The important thing is that you have an understanding of the anatomy and gesture, and that the anatomical drawing is correct and natural in whatever stylistic form you choose to draw it in.
About the portfolio in general... • Create a series of narrative pieces to take the viewer through a story. Anyone who is looking at your portfolio as your potential client is going to expect to see character/story progression in this very way. (Unfortunately I sound like a broken record on this one because they probably heard it one zillion times, but that's because it is really important.)
• Have characters interacting in a scene together. Show emotion and expression in faces. Show action. Show life. I
8 Comments on Mass Art Portfolio Reviews, last added: 5/8/2010
What a fantastic post, Kathy! I will be emailing a link to all of the newbie illustrators that have recently joined my SCBWI chapter. So much great info, and things I have said many times, but you know having it in print makes a difference. Thanks for sharing!
Anne-It was a pleasure to meet you! I hope to meet you again some time! (I will be sure to do a Surtex wrap-up blog post as well in a few weeks so please check back for that!)
Diandra-Wow, thanks, I appreciate you sharing the link! :)
Tamara-You are so welcome :) Happy if my post is helpful to you!
This is a fabulous article, Kathy, thanks for sharing your day and insights. I know- eyes! That really is key. I only use dots but I will spend a lot of time time making sure I have them in the right position. They do make such a difference to a piece and I love that you brought this up.
Above: the first (rejected) February layout illustration for "The Months"
Before I bought my Cintiq tablet, I had been working on a set-up that basically could not sustain me in my career as a children's illustrator in the 21st century. I was working on a Powerbook G4 and used a 3x5 Wacom Graphire tablet. It was my first lap top. When I bought it, I was under the impression that it would support doing heavyish graphics. Due to the portability factor, I went for it. Well, I was right, It did support graphic files, even really large ones. But what I did not anticipate was how hot the machine would get. That was something I discovered pretty quickly. But a more nervewracking problem with doing artwork on the machine was an issue of camouflage - the screen "trickery". The matte screen just did not show all the lumps and bumps in a working illustration. It read light yellow as white. It read light blue as white. Light grey? White again. And the sad part is that, half the time, I did not even realize it until WAY after the fact. I remember: I would make an update to my web site. Then, next day, I would go look at what I had done on a regular desktop computer monitor, live and online. I'd be absolutely horrified that the graphics had some blatant mistakes in them. Ugh!
I discovered that I hated using my lap top/tiny Wacom tablet for design work. I also discovered that I simply could not get used to illustrating with the small Wacom with the laptop screen. There was just something completely uncomfortable about the tiny tablet / lap top combo that eas pretty much unbearable. I'd used Wacom tablets (6x8 mostly) for years preceding this point, so it was not a "getting used to it" issue. It was just that the combo was not working, and it wasn't going to start working. If I was going to move forward in my career, I simply had to get the right tools—NO if's, ands or but's!
I had an experience which propelled me quickly to decide to make these major changes. It happened during my work on the book "The Months". Throughout the entire job, things on my end could have gone SO much easier had I had the proper tools and hardware. Not just the Wacom/lap top situation: I desperately needed a large-bed scanner, but I had only a little 8.5 x 11 one, and there was just no time to work on acquiring the larger-sized one that I needed during the working time frame of the job. I completed the project of course, and the book did see the light of day! But I learned some very valuable lessons. One of the most important was to suck it up and get the right tools to do the job right. After so many horrible scans and terrible time trying to retouch my watercolor paintings with the lap top / tiny Wacom Graphire combo, I decided, ENOUGH! I was a professional and I was going to buy the best tools I could. I was worth it, my work was worth it. I was not going to continue to compromise my goals and art career due to the lack of the equipment I needed to function in the present landscape.
Around that time, the Wacom Cintiq was the newest offering. I hemmed and hawed for months, but after chatting with Carlyn Beccia about the Cintiq, I was willing to jump in, sight unseen. I felt that, if I knew that Wacom tablets worked for me in general, then the Cintiq would be a great step up. I knew there would be a big learning curve, but there is a learning curve with everything. Honestly, if there's no learning curve with something new, then where's the c
9 Comments on Illustrators: Get the tools that you need to succeed, last added: 2/24/2010
Hey Kathy, wise decision. I made a similar one recently. My older wacom was cracked, scratched and the pen nibs were so worn down that I knew I needed new gear. My computer has a really wide screen and I am very comfy with the intuos so I decided to go with the new intuos 4. LARGE.
Since my computer screen is much larger than the largest Cintiq I rationalized that the intuos would be better for me and my budget. That is because my full time job is freelance illustrator and there is no other day job at this point.
Although I know that someday I may want a Cintiq... the new intuos 4 is dreamy. It comes with 10 extra pen nibs and a really sleek new design.
As a digital artist I also sprung for a wide body printer with archival inks. The tools we use are really integral to our happiness at work and our happiness at work is integral to our ultimate success.
Hi Ginger! Thanks so much for commenting and sharing your own story. The new Wacom Intuos 4 sounds sweet! Good for you for upgrading your tools.
I totally agree that the Cintiq is really spendy. Hey there are totally other options-whatever works for the individual. If what you are currently using feels right then why fix it, if it ain't broke. It takes such a lot of trial and error to get comfortable with a digital workspace plan - finding the right set up for the individual is so imperative to productivity. If I hadn't been in such a bad place with my set-up at that particular time, I probably would not have splurged on the Cintiq...but I was, and I did, and I'm very happy with it!
I'm really glad you got the printer too! I did not mention this because it was not really relevant to any of the experiences I shared in my post, but I also upgraded my printer to a printer that could print up to 13 x 19. Just having the right tools that you need, when you need them, makes a huge difference. Congrats on your toys as well!! :)
Kathy, great post and better insight into the mind of a successful illustrator.
I'd like to see the full breakdown of gear that you're now using, computer, printer, scanner, etc. too to put it all in perspective.
My full time job is graphic designer/web developer. I use a 15" MacBook Pro with 4GB of RAM. I connect to a 23" Apple Cinema Display and use a 9x12 Wacom Intuos 3. My scanner and printer aren't worth mentioning as they're on the "Upgrade next" list.
I like the portability of the MBP, but have been considering getting one of the new 27" iMacs with more CPU horsepower and way more RAM.
I'm going through this process as the moment actually. Got a great wacom tablet but need a better macbook and definitely a better scanner! What model scanner did you get? I'm also considering a new printer but I hear it works out cheaper to print elsewhere in most cases...
Hi Jim, Hi Tigz, Hope you don't mind but it makes sense to answer both of your questions in one reply. Here is my current set-up:
-Imac 24" Intel Core 2 Duo 3.06 Ghz, 4 GB RAM I first looked into the Mac Pro but quickly realized that it was not for me. Not only was it extremely expensive but it was more computer than I needed. (I'm not making video games.) Not only that but I'd chatted with several designer/illo friends who just loved the imac and said that it worked great for them. I've been very happy with mine and I think it's a lot of computer for the money.
-2 external hard drives (one for Time Machine, one which I actually work off of)
-Subscription to Mozy (off-site back up service -- backs up all files regularly)
Right before I purchased the imac I had a hard drive failure in my Macbook Pro (this was my next computer right after my Powerbook G4 - I still stuck to getting a laptop - hadn't learned my lessons yet completely ;-) But with the Cintiq screen, I no longer had to use my computer screen for visuals, so it was no longer an issue. I've since moved on to my imac (early 2009), and I use laptop strictly for goofing off or answering emails. :) )
-Cintiq 21" monitor/tablet
-Epson R1800 printer My printer was $400 new. It is a great printer and it did not cost a lot as far as printers go. What costs a lot is the Epson ink. That's life! I've had printer for a couple years at least and it still works great.
-Epson Expression 1640 XL scanner (discontinued). I bought this model on recommendation from my step-mom who is also a graphic designer. She loves this scanner and I see why. I bought one for 1K refurbished. It's an excellent scanner. I've had it about three years so far and no problems. Epson has similar models on their site.
Hope this helps paint a better picture for you guys! :) Thanks for your comments and for visiting!!
Hello! I too want to get a Cintiq and have been thinking about it off and on for a while. I haven't tried one yet, but as I have started to draw/sketch all on the computer, I would like to try one.
The only thing I am worried about is that the lines I draw match up with the motion. I have the 6x8 tablet now and it has worked good, but I want more control of where I start/stop my lines without having to adjust points all the time. How has your experience so far been with this? I am kind of picky when it comes to nice fluid lines (lately have done more loose line work) but overall for the spot illustration stuff, I prefer a nice flowing line with my set of brushes.
Thanks for the story on your experience with buying the cintique. I think we are always dealing with how to improve/further our work...and also be able to purchase stuff. After all, even though it is a tax write off, we still have to pay for it..hahah
Korey, Cintiq offers you real-time drawing. So you are drawing/painting on a computer monitor. Any lag time a person might experience is a RAM problem or a hard drive issue. the Cintiq is made to draw the line as YOU draw the line, as though you are painting on a canvas. Well, sort of.
andothersuchthings-You're welcome! Glad it helped. :)
I like your post. It's amazing how much easier doing art is when you have the right tools! I was in a similar situation a while ago... actually it was worse I didn't have any kind of graphic pad. I had to do a bit of convincing, so that my husband knew how important a tablet would be to my artwork. I ended up with a Wacom Intuos 3 6"x9". So much easier to draw/paint on a computer with this. I would have loved to have a Cintiq, but it was way out of my budget. Now to buy a computer newer than 8 years old!
I know you aren't using it for artwork now, but there should have been some options on your Powerbook to adjust your screen so it looked a little closer to what it looks on other monitors. Of course every monitor is different, so you can only adjust things to suit other people so much. I once did a really dark drawing, and posted it online, only to find out later there were light circles that appeared on every monitor but mine (my monitor was set too dark, ugh).
I'm glad to see this post because it makes me feel a little more justified in a few of the expensive decisions I've made in the past. I'm not published yet, but I'm hoping to change that soon. It was doubtful it would ever happen without the right tools!
You know when you have a day that, well, let's just say you've had better? That's a crap feeling to walk around with. I was having a bad day a few weeks ago. At the end of it, I had a little 'doodle therapy' on my way home. Hey, it gave me a good chuckle. I guess, in retrospect, it really did make my day better. And now I have some funny souvenirs as a reminder to laugh when I have a bad day.
3 Comments on "Crap" in German is "Mist", last added: 10/23/2009
Isn't that a sweet thought? I thought, I'd make some lemonade from lemons and find out what "crap" is, when translated into other languages. In most of the languages I checked, crap still is crap. But in German, crap is mist! Hey hey! It's a lovely thought, and it makes me feel like I'm in Niagara Falls. :)
I recently took part in a truly wonderful art project. I, along with 20 other pet portrait artists, were invited to create and contribute works of art to be published in a uniquely themed art book.
It's called "Party Animals", and if you remember last years' benefit art book that I contributed to and blogged about ("Dogs Rule"), this one could be considered a "Part Two" of sorts. Jill Beninato of Sit Stay Smile is the responsible "party" for "Party" -- she spearheaded the "Dog's Rule" project herself and made it all happen! She came back at us with "Party Animals" this year . Once again it is an honor to be a contributor. Like last year, this years' book includes art images that were specifically created for the project by each of the artists. The interpretation of the theme of "Party Animals" was the goal, and each artist was given free reign!
This time though, the party is even BIGGER and more shareable (yes, that's really a word - I looked it up), because, unlike last years' project, ANYONE can enjoy a beautiful copy of this years' collaborative project because copies are for sale, with ALL proceeds - every nickel - going to benefit A Place To Bark. (Plus, your purchase is entirely tax-deductible.)
I can tell you first-hand that the quality of the printing and binding of this 'zine is gorgeous and lovely. I am proud to have my work in the book, and to be among so many other extremely talented artists who are not only each boldly unique in their own artistic voices, but who are also very generous and caring people who are all joined by our love and support of animal welfare. Because the entire monetary proceeds of the 'zine go directly to A Place To Bark, you know that your $20 purchase is making a HUGE positive impact. (The great art, beautiful printing, and inspiring words in this book make it truly gift-worthy as well).
If THAT isn't ENOUGH, the ORIGINAL ARTWORKS printed in the 'zine will be auctioned off on Ebay on October 15, with all benefits going to A Place To Bark. Mark your calendars!!
0 Comments on We are all "Party Animals" for A Place To Bark! as of 7/13/2009 5:15:00 PM
LOVE this new video PSA from the New York Public: "Shout it Out for your Library!" Mario Batali, Amy Tan, Better Midler, Malcolm Gladwell, Barbara Walters and other celebs voice support for the library and reiterate the value of the public library for the community.
Also like the blocker page they have up now about supporting the library monetarily, on NYPL. It's a great way to remind people that while the library is free to use, it isn't free to maintain and run.
Having worked on previous advocacy campaigns with OCLC, I know the challenges of finding the right audience for your we-need-financial-support message. Especially with the down economy, you have to make every marketing dollar count. YouTube and Twitter are great ways to get the word out to new audiences. Using local celebrities isn't all bad, either.
0 Comments on New York Public campaign: Shout it Out for the Library! as of 6/5/2009 5:59:00 PM
There are two big benefits to utilizing the online system to register, instead of sending in hard-copies:
• The electronic filing fee is only $35, a $10 savings over the standard (hard-copy, mail-in) $45 fee
• You do not have to mail in hard copies!!! This is a BIG one for me, because including the good-quality prints of my artwork that are required for hard-copy registration can end up being expensive. (I usually register several works at once, so this is a big deal.)
Lastly, with the big scary monster under the bed called the "Orphan Works" bill threatening our security for the past couple years, we simply cannot take any chances. The onus is on us to be pro-active about protecting our precious assets of creativity - our work, our livelihood, ourselves!
If you have never copyrighted your work before, no sweat. This is the perfect time to get acquainted with the process of doing it, and finding a way to make it a regular habit (like paying quarterly taxes). Start now!
2 Comments on Now, more than ever..., last added: 11/29/2008
Good for you Kathy! I have long been a copyright advocate and when I consult with artists I always recommend that they copyright their artwork. It is so important. I am glad to see that you did a post on this since our artwork is like money in the bank and we must protect it at all costs!
Thank you, Go Daddy, for helping me get my life -- er, um, my WEB site back!!!! Go Daddy has come to my rescue. The phone folks are very helpful -- therapeutic even. I mean, we ALL need therapy when we are desperate with a down site, do we not?? Anyway, let's raise a wacom pen or mouse in thanks to Go Daddy. Thank you, thank you, thank you. I finally feel whole again.
2 Comments on I Heart Go Daddy, last added: 6/14/2008
After attempting what *should* have been just an extremely minor update, my web site is now doing some very horrific things. I am trying to figure out what the problem is but it will have to wait a bit because I've been at this for hours and now I have to give it up for the night and go to bed.
Please do not look at my newly redesigned (ACK!) site right now unless you would like to see the graphical equivalent of scrambled eggs. (mixed with mashed peas. Some seaweed in there. maybe a few chicklets. and definitely some green slime.) Don't say I didn't warn you.
I'll have it up as soon as I am able! I will get it fixed as soon as I can. For what it's worth, I know what the GENERAL problem is -- it's a technical glitch in the software application that reacts wildly to *something*, but I. don't. know. what. (I realize that I'm being incredibly clear here.)
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Great advice Kathy!!! I appreciate you posting these tips...Thank you!
What a fantastic post, Kathy! I will be emailing a link to all of the newbie illustrators that have recently joined my SCBWI chapter. So much great info, and things I have said many times, but you know having it in print makes a difference. Thanks for sharing!
great to meet you yesterday ever so briefly, Kathy ~ this is very rich with excellent advice, thanks... hope to cross paths again soon. ~ Anne
Great post! Very insightful, unpretencious and honest! Thanks for sharing!
Thanks Kathy!!! This is great. It was wonderful having you review and yes, same time next year!!! -Irena
Irena-Definitely!! :)
Edrian-thanks so much-I'm glad it was helpful!
Anne-It was a pleasure to meet you! I hope to meet you again some time! (I will be sure to do a Surtex wrap-up blog post as well in a few weeks so please check back for that!)
Diandra-Wow, thanks, I appreciate you sharing the link! :)
Tamara-You are so welcome :) Happy if my post is helpful to you!
This is a fabulous article, Kathy, thanks for sharing your day and insights. I know- eyes! That really is key. I only use dots but I will spend a lot of time time making sure I have them in the right position. They do make such a difference to a piece and I love that you brought this up.
Great article, Kathy! Thanks for sharing!