A Site for Emerging Artists
Posts tagged art careers
Catch This Escapee/Interview with Thomas James
Jun 7th
Thomas James, illustrator and author of the popular blog “Escape from Illustration Island”, is fascinating on several different levels. He serves up an incredible online resource which educates and inspires illustrators, artists and other readers who visit his site. Thomas is also a smart and savvy blogger.
EFII has the complete package – check how he uses multiple modalities. Read the articles, listen to the podcasts, see the visuals, participate in contests, comment on his posts, join a community. There are books, sites, artists and blogs reviewed, and discussions of the history of illustration. Tutorials are offered, although you can request his personal input as well. EFII hits on all cylinders, showing a masterful understanding of how to communicate and involve an audience while providing a wealth of valuable and useful information at the same time.
AS: You have a lot going on. What are your current projects?
TJ: First, I want to say thank you for inviting me to share my story with your audience. I love what you’re doing here at Artsy Shark.
The project that I’m most excited about right now is my new eBook, 15 Steps to Freelance Illustration, which aims to outline the basic steps involved in building a strong foundation for an Illustration business. Even though there are other useful books out there on the topic, I’ve taken the approach of empowering every artist to organize their thoughts and formulate a strategy that fits their unique situation. I’ve done this by breaking things down into groups of tasks and by including a supplemental Workbook so that everyone can move at their own pace and make the most of the ideas presented in the book. It’s taken me six months to complete, and I’m very excited about the official release on June 15th.
Now that I’ve crossed that off my list, I’ll be focusing on this year’s ICON6 Illustration conference, where I’ll be attending as a media sponsor. While I’m there, I’ll be covering the event from the inside and recording as much audio and video content as I can to share the conference with Illustrators who can’t make it there for whatever reason.
AS: Tell us some of your favorite aspects of the EFII blog. What are your readers’ favorites?
TJ: I really love the community that has been built there by my fellow artists, and that is still growing. I think EFII helps Illustrators and other creative professionals come together and share ideas and resources. After all, the name Escape from Illustration Island comes from the idea that most Illustrators live and work in the isolation of their studio. A lot of artists have expressed gratitude for the resources provided at EFII, and that helps to keep me motivated to do more.
I have to say that the audio podcast is another one of my favorite aspects of the site. I’ve had the chance to speak with so many incredible people in the industry, such as Steven Heller, Drew Struzan, Gary Taxali, Brian Despain, and so many others. The chance to pick the brains of Illustrators, Art Directors, and Art Reps on the show has really helped to make me a better artist, and a better freelancer as well.
AS: What goals do you have, either with EFII, or other professional endeavors?
TJ: One main goal I have moving forward is to share the resources at Escape from Illustration Island with as many creative professionals as possible, because I strongly believe that it has a positive impact on peoples’ lives, and on the industry as a whole.
Also, the ability to make an alternate income from the site has allowed me to take a step back with my own Illustration work and completely redefine my style. So, I’ll be working on figuring out new and unique ways to market that style and secure more of the types of projects that I’d like to work on.
AS: Emerging artists often have questions about how to get started professionally. What resources would you direct them towards?
TJ: I have a growing selection of Featured Resources on Escape from Illustration Island, but I think some of my favorite are books like Graphic Artists Guild Handbook: Pricing & Ethical Guidelines (Graphic Artists Guild Handbook: Pricing & Ethical Guidelines), the 2010 Artist’s & Graphic Designer’s Market (Artist’s & Graphic Designer’s Market)
, and the blog Freelance Switch, which discusses best practices for freelancers. I was definitely inspired by Freelance Switch when creating EFII, but I wanted to tailor my posts more specifically to Illustrators and other creative professionals.
How to Fail as an Artist
May 29th
In the spirit of Ben Stein’s How to Ruin Your Life, the following is a starter list on how not to succeed in your art career. How many can you add?
- Believe in the myth of the starving artist
- Take all of your own portfolio shots (preferably out-of-focus with poor lighting)
- Write a rambling, vague artist statement that no one can understand so that you appear to be intelligent and unfathomable
- Wait until the last minute to send in applications
- Don’t return phone calls
- Ignore visitors at gallery shows – remain aloof and mysterious!
- Leave your last blog entry of November, 2008 as your most recent contribution
- Vastly underprice your work
- Vastly overprice your work
- Refuse to volunteer
- Avoid business or networking events like the plague
- Don’t take any continuing art or business education classes
- Neglect to update your website with current work
- Find excuses why your work won’t sell, and use them often
- Apologize for your art – say that you are “not really” an artist
- Who needs marketing? You’re not a salesperson!
- Blame others for misunderstanding your work
- Maintain a messy and disorganized studio
- Embrace rejection – convince yourself you are a failure
- Ignore deadlines
- Procrastinate
- Give up
How a Decorative Painter Built a Business (Part 2)
May 12th
In Part 2 of her interview, San Francisco decorative painter Debra Disman discusses time management and marketing for her successful business, and how emerging artists can use these techniques to enhance their careers.
AS: Marketing is important for artists, and your website gives a great presentation, including video. What recommendations do you have for other artists looking to publicize themselves?
DD: I see marketing as a three-fold process:
- face-to-face/in-person experiences: joining and meeting with business groups and individuals
-“behind the scenes” actions such as mailings, phone calls, and emails
- consistent online activities to create a presence, such as maintaining a website and blog, sending out an email newsletter, and participating in social networking
Not everyone loves to write, join groups, or present online, but the act of connecting with others can yield unexpected gold. All the teaching and exhibition experience in the world did not cause me to grow in the way that participating in BNI for two years did, because I had to return to the Chapter each week, and present my business and my art in front of a group, and define in words what I was doing.
Through Twitter, I connected with the master decorative painter Lyna
Farkus, co-host, with the creative entrepreneur extraordinaire Rebecca Parsons of the blog radio show “Artistically Speaking Radio” an interview program spotlighting artists and the creatively self-employed. Because of my connection with Lyna, I was interviewed on the show. It was not only an honor, but a real joy to share with these amazing women and their listeners about some of the things we care about most – offering information to support others.
Having a video on your site can be very helpful to present and share about what you do. Engaging in the educational, marketing, and networking activities I have described may lead you to the perfect videographer to showcase your work.
Whether you are making a web site or a video to present your work, blogging, crafting an “infomercial” or an “elevator” pitch, tweeting, posting or updating, you are using these forums to share what you do, and inspire others to become interested in your work and ultimately to buy it. A salient way to do this is to communicate the value of what you do to others. This can be achieved in multiple ways for the greatest impact.
Equally important is to give back, whether it is through contributing time or consultation to a worthy cause, mentoring other artists and those new to your field or donating your skills, tools or equipment to create something.
AS: Time management is a challenge in your busy career. How do you plan and organize to get the most out of each business day? What are some of the tools you use?
DD: Many of my time management and organizational tools are deceptively simple:
- One of my tools is the humble analogue notebook. I use it to prioritize tasks, peruse websites and communications, track progress, make comments and evaluate where I am at any given time.
- Sometimes saying no can be as important as saying yes. Say no to perfectionism and overworking. Don’t continue to pound on a problem – instead, of take a break from it. Walk away, and get some exercise and refreshment. Getting “away” helps to free up the mind for solutions.
- When overwhelmed with the challenge at hand, I try to break it down into manageable steps. I focus on each individual step without worrying about the outcome. Then I set a specific amount of time to deal with a task.
- I have a plan for each day, but the plan needs to be loose enough to allow me to respond to an unexpected client calling about a project, a moment of creative inspiration or a surprise email. To remain focused, yet flexible is a supreme art form and one that requires constant practice.
- I am a big fan of identifying and doing things that bring you back to your central joy and passion about your work and about what compelled you to follow this path in the first place, which remind you why you love to do what you do, even with all of the struggles, frustrations and sacrifices.
Explode the Myths and Build Your Art Muscle
Apr 23rd
Aletta de Wal calls herself an “Artist Advisor”. She is actually a powerhouse of a coach who guides artists from starving to successful, and helps them do this while feeling great about their careers. Aletta’s gift is teaching artists how to structure their lives and activities to get the most out of every plan, think in new creative ways and celebrate achievements. Visit her website, www.artistcareertraining.com to get more information about building your career.
AS: Artists launching their careers need to have a good “road map” of what is ahead of them, but often have belief systems in place that are faulty. Could you discuss some of the myths about artists that hold people back from successful careers?
AD: Myths serve no purpose at all except as real roadblocks to the careers of the artists who subscribe to them. Here is a sampling of the 12 myths I see most often:
Myth #1 – If I Just Do My Art, Everything Else Will Work Out
Many artists still mistakenly believe that they can just create their artwork and let other people worry about the business side. You must focus on your art and on your business.
Myth #8 – Artists Are Not Business People, My Dealer Will Handle Everything
Artists often imagine that representation means that the gallery will handle all of the business side of art. Wrong! Galleries are business partners, not caretakers. You need to promote your art career and run your own business.
Myth #9 – All Good Artists Are Poor
Artists who believe that “true” artist is “starving” think this lifestyle keeps them “in touch” with their creativity. Even the archetypal starving artist, Vincent van Gogh, wasn’t doing so badly. He worked in an important gallery for six years and his brother, a wealthy gallery dealer, sent him a generous monthly stipend. You owe it to yourself to make the kind of living you want and are willing to work for.
Myth #12 – One Big Break Will Make My Career
There is no such thing as overnight success. All great achievements are made up of many small acts. Tenacity, perseverance, and preparedness dispel the illusion of instant success. Many small breaks will create a sustainable career as long as you take one step at a time towards your future goals.
Once you demolish these myths and understand the realities of being an artist, you can make choices to build your own version of a creative career path.
AS: In your courses and writing, you mention the “Realities” of being an artist. Could you explain these?
AD: You will encounter creative blocks and cracks in your confidence. That’s part of business. Working through them builds art muscle. Start with this mindset:
You Are in Charge of Your Art Career
When you are in your studio or making art “plein air”, you are in charge. You decide what to create. You are also in charge of deciding how and where you want to exhibit your work – whether you sell your work directly to collectors or partner with galleries, museums and licensors.
You Are an Artist and an Entrepreneur
Entrepreneurs are the artists of the business world. If they fail to build a business structure, the business fails. When you decide to sell your work, you become an entrepreneur. Once you have enough art to start showing and selling it, you have to learn the skills of marketing and sales.
You Must Balance Making and Marketing Art
Without marketing, you don’t have a business, you have an expensive hobby. As an emerging artist, you will spend 75% of your time making art and learning to make it better. In the other 25% of your time, your top two priorities are to:
• Create the shell of your business, so that you can deduct expenses and pay taxes on your income, just like any other real job.
• Build relationships focused on your art and your interests, so that you build an audience.
Established artists typically divide their time equally between making art and handling business and marketing activities.
AS: What practices would you suggest an artist put into place to start thinking in a positive and balanced way about promoting and selling their work?
AD: Choose your company carefully. Avoid the artist who has “done it,” and “it doesn’t work.” Study and hang out with successful artists have a positive mental attitude about their career. It makes a tremendous difference!
Think, do, celebrate. Decide what you want to achieve with your art and the lifestyle you envision. Set goals with action steps and a timeline. Then do something every day that will take you a step closer to your goals. Write down what works and change what doesn’t. To keep yourself motivated and your spirits up, celebrate every accomplishment, no matter how small.
AS: There is a difference between merely surviving and prospering as an artist. What attitudes and actions do prosperous artists have that can be a model for emerging artists?
AD: Artists who survive go from action to action without an overall plan or ways of measuring progress. Create a solid foundation for prospering by building “product”, nurturing relationships and positioning yourself in the art world.
• Master your medium and subject matter. Decide what gives you the most joy and energy. Notice where you need to learn more and find teachers and mentors to help you.
• Do business professionally, with a business name registration, a vendor’s license, sales tax ID and separate bank accounts and credit. Aside from being legally ready, this will build your confidence.
• Be visible. Go to art events weekly. Observe how art marketing works when it is done well, and when it is done poorly so you can avoid expensive mistakes.
• Build relationships and grow your mailing list. Get to know people in your
area – artists, buyers, and dealers – and ask them if they would like to be on your mailing list. Make notes about each person and start a database to keep track of what you learn about them.
Of course this is just the tip of the iceberg! For more detail and a special download available to Artsy Shark readers, visit Aletta’s website . For a free 15 minute consultation, please e-mail Aletta@ArtistCareerTraining.com.
Exclusive Sneak Preview: A Guide to Art Licensing & Publishing
Apr 15th
Jan Weiss, an art publishing industry insider and veteran of 15 years, has written a new ebook to help artists understand the world of publishing. Should you choose to license your work to an art publisher? What about self-publishing?
Jan is getting accolades already from other professionals in the field with her complete and easy-to-understand guide, “The Coexistence of Art and Money”. She has given us a sneak preview in the form of an excerpt from the book. Visit Jan’s site at www.theartplanet.com for more information and to order your copy!
Working with a publisher can be fabulous and frustrating and economically smart. You will need a serious reality check working with a publisher because nothing happens overnight. Instant success is a nice phrase but far removed from reality. Patience is key to your success as well as thinking long term.
There are advantages and disadvantages of choosing to work with a publisher. So let’s make a list:
Advantages
- Big budget.
- They do all the marketing
- They deal with legal issues
- You can create while they do all the publishing work.
Disadvantages
- Give up part of the royalty
- They can drop you
- They tell you what to do (this could be an advantage too)
- It’s takes a long time to see a return
Publishers are the ones making all the decisions about what to publish, when to publish and who to sell it to. You don’t get to control this however you get to make art and they spend the money to market it. Though you are leaving it in their hands you are also working with companies that have a long history (hopefully) and the know-how and brains behind the operation to figure out how to make money. If they don’t sell your art they don’t make money so it is of course to their advantage to sell it and then you get to reap the rewards by getting a royalty check. You will like that. I promise.
The disadvantages are simple. You give up a certain amount of control over your art. The publisher may give you direction and then you may be asked to revise it and maybe you think it’s perfect but they don’t. That’s the way the game plays. They aren’t perfect and the publisher may be going in the wrong direction. That’s why it’s important to have good communication with the art director. Don’t be shy about offering suggestions or reasons behind why you have rendered an image in a certain way. If the art director isn’t willing to listen you may need to rethink the relationship.
A publisher will usually work on a royalty basis so that you will receive a percentage of the sales. This percentage can be as low as 5% or as much as 20%. Make sure you know what this number is and are happy with it. A publisher may negotiate but there is generally an industry standard of 10% so expect that. Royalty payments are usually paid quarterly if a minimum royalty is earned.
If the publisher is not making any money on you they may decide to drop your contract. It is frustrating but they are making an investment and must believe in the investment. If that happens ask them to be candid and give an honest reason for dropping you. If you know why, this will help you in working with another publisher or going on your own.
Speaking of going on your own this is a perfect time to segue into the world of self publishing. Let’s begin with another list:
Advantages of Self-Publishing
a) Your own boss
b) Own direction
c) Own schedule
d) You get the whole royalty
e) Print on demand. You don’t have to keep inventory
Disadvantages of Self-Publishing
a) Getting the clients
b) Working alone
c) You are in charge of all bookkeeping
d) You have to do all the promoting and marketing.
e) You are responsible for having to pay all imaging costs such as scanning
If you decide to self publish the weight of everything falls squarely on your shoulders. That may be a good thing if you have business acumen and a realistic outlook. If you have stars in your eyes about becoming famous then you might not be ready or mature enough to take this on yourself. If you have had some measure of success in marketing your original art then maybe you can seriously consider self publishing. Because of internet access to printers and on-line galleries that world of self publishing has opened up. Years ago…it was nearly impossible to get a large print made. You either needed to order 1000 at a time or pay an arm and a leg. Not anymore. Many sites offer resources for you to upload high res files and order the print yourself or drop ship to a customer. And you do not have to hold inventory. When your customer order is placed then you send the files to your printer. This is referred to as Print-On-Demand. The time is right for self publishing. The major disadvantage you will find in this is that you do not have the marketing advantage that publishers have. They have the money to exhibit at tradeshows and have connections to major retail sources. You are free to exhibit at tradeshows and if you have the financial backing it’s an excellent way to get your art in front of potential buyers.
In later chapters we will talk more about social networking. This is key to marketing your art.
Self-publishing can be lonely. Join on-line art groups and connect with other artisans. If you live in a community with artists groups it might be a good time to join. Visit open studios to see what everyone else is up to. Listen and learn.










Featured Artist Sarah Tomlin







