A Site for Emerging Artists
Posts tagged launching your career
Catch This Escapee/Interview with Thomas James
Jun 7th
By Carolyn Edlund
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)
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Featured Artist Carla E. Reyes
May 16th
Featured Artist Carla E. Reyes presents her work and discusses her inspiration and goals. Visit her website for further information and a complete portfolio.
What are your goals?
I’m fortunate to have a career in the decorative arts that is creatively stimulating and supports my studio practice. I plan to continue my work as a decorative finisher; designing wall surfaces for interiors and displays, while developing and exhibiting my fine artwork. I have been getting more involved in collaborative and public art projects like murals, teaching art workshops, children’s art events, and theater/scenic art projects.
One of my goals is to do more of this kind of work, as I find it very rewarding and stimulating to collaborate with other artists, work with young people, and engage the public in artistic exchange. I am also in the process of applying to graduate school to further my studies with a Masters in Art Education, to eventually become a traditional art teacher or start my own fine and decorative art school.
What are you working on now?
At the moment I am working on a body of textural paintings called the Texture Garden: Flora Series. I created the first piece back in 2008, and have been collecting images and ideas ever since. This series of mixed media floral paintings explore the cycles of nature and the human desire to capture and possess it. All of the paintings are inspired by actual images of man made objects that depict a floral motif, and were created from a variety of materials (natural and man made – clay, metal, stone etc.) set in a natural environment, and undergoing the natural and chemical processes of aging and weathering.
Most of my artwork explores the color, texture, and character of natural and man made surfaces, particularly in a state of change or interaction; which I find both profound and beautiful. Flowers in particular, are cherished objects of nature that humans seek to preserve, but their seasonal appearance in nature, and short life span in unnatural environments, reminds us of how fleeting and precious life can be. The work is meant to bring attention to the cycles of life, nature and change, and the beauty of the processes that take place. The Flora Series will be on view at Yashar Gallery in Greenpoint, Brooklyn, in my next solo exhibition: Flower Power! Mixed Media Floral Art by Carla E. Reyes from June 3- 24, 2010.
What inspires you?
I am inspired by the visual beauty of everyday things that we take for granted. The colors and textures of a deteriorating wall on a subway platform can have the most beautiful pattern and surface if you take the time to notice.
I am always inspired by nature, and by the creative work of others. I love taking lots of different workshops, Googling everything, reading, doing yoga, walking through the city. There really is inspiration to be found in everything, as long as you are open and awake to it. I just feel so fortunate to have to the ability to create and express myself through an artistic medium and share it with others. I am happy to go to work everyday in paint spattered jeans and create things that enliven or beautify the environments people work or live in.
Explode the Myths and Build Your Art Muscle
Apr 23rd
By Carolyn Edlund
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.
Thank You to Aletta from Grade 3 Art Class
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.
Greeting Card Biz Insider Secrets – Part 3
Mar 21st
Guest blogger Don Ruge, a greeting card industry pro, completes his series about the business as he writes about licensing your work and other important considerations.
Some artists want to create art, but don’t want to get involved in the manufacturing process. What are some suggestions for them?
Creating art requires one set of skills while supervising the manufacturing process requires quite a different set. How many of us really have the talent or time for both? Besides, designing a successful card line is a lot of work (especially if you’re doing all that research I suggested!), so it makes sense to leave the manufacturing to the experts. This is where licensing comes into the picture.
I should immediately follow up this statement by admitting that I am NOT a licensing expert. I have worked at companies where we have entered into an agreement with an artist to manufacture his/her designs but I was not part of the negotiation process. What I do know is there is not a one-size-fits-all agreement that will make everyone – the artist and the company manufacturing their work – happy. For instance, royalties can look great on paper but if the print runs are low and the distribution is small (meaning not many cards are printed to begin with and even fewer cards ever make it into a store) then it doesn’t matter what percentage of the sales dollars make it back into the artist’s hands. And some artists are so anxious to see their designs manufactured that they will settle for a less-than-fair upfront fee, thinking that they’ll make their money on royalties.
But as I said, I am not an expert. This is where the web really comes in handy because there are a lot of people out there who truly are authorities when it comes to non-manufacturing options. If I had to make one suggestion to an artist who wants to create art but doesn’t want to get involved in the manufacturing process, it would be to join LinkedIn and become a member of as many design- and greeting card-related groups as possible. The wealth of information from people who have experienced the highs and lows of developing their own card lines is truly amazing! For example, a member of the LinkedIn group, “Greeting Card, Stationery & Gift Industry Gurus,” recently started a discussion with the question “Breaking into the greeting card business…which way to go?” and at last count she has received 47 comments to her query. Experienced artists are usually more than happy to share their successes and failures with beginning artists as a way of helping them avoid the same mistakes they made when they first began. And the best part is, you not only learn a lot about the industry but you make some great contacts – and friends – along the way.
What are some Do’s and Don’ts to consider when getting into the greeting card business?
• Do remember it’s a business.
It may involve art, it may involve design, it may involve your heart and soul, but it is still a business, which means there’s always the bottom line to consider. While creativity, both in art and editorial, plays a significant role in the development of the product there are many other elements that must come together to insure success and profitability.
• Don’t take it personally.
Be prepared for criticism. Greeting card art is commercial art, meaning that the end result of your creative endeavor is to sell product and make money. The reality of the business (there’s that “B” word again!) is that your client has his/her own idea of what they need for that particular card design, collection, or product line and 9 times out of 10 some changes–of one degree or another–must be made. And Art Directors appreciate, and continue to work with, artists who willingly make the changes required. Which leads to…
• Don’t refuse to make changes.
By all means express your concerns, engage in a dialogue about why you disagree with the Art Director, make other suggestions, etc. but never say “I won’t do that!” This is especially important if you’re just starting out in greeting cards. If you’re serious about your future you’ll understand that this is only about one design – it has nothing to do with who’s right or who’s wrong – and you’ll remember that you always have the option of turning down future assignments if you feel it’s not worth the effort to work with this, uh,…jerk! Just as Art Directors have a list of artists they won’t work with anymore, so too do artists have a similar list of “never again” Art Directors! Only experience can give you the wisdom to know what jobs are worth the effort so take your time in determining where those lines are drawn (no pun intended).
• Avoid shortcuts (hint: there are no shortcuts!).
Don’t forget that it’s a mighty big world out there and chances are the line into which you’ve poured your blood, sweat, and tears is not as unique and special as you think it is. That’s sounds rather harsh but it’s one more reason why I talk about research. You have to get out there and know your competition. The last thing you want to do is spend months designing a line, only to discover that there are three other lines out there that look exactly the same! That means visiting stores regularly, keeping a reference file of cards you like, checking out your competition’s web site, etc. In short, it means becoming your own greeting card expert.
Greeting Card Biz Insider Secrets – Part 2
Mar 17th
Guest blogger Don Ruge continues his series on the greeting card business. Don has many years of experience in the industry and shares his thoughts on creativity.
I have worked as a Creative Director and Art Director for several greeting card companies. My responsibilities have varied based on the size of the company, but some “basics” remain the same: determine the design direction for each new card (based on sales, line balance, and trend analysis), decide how the design should be executed (i.e., assign art to a freelance or in-house artist, select and purchase stock photography, or reformat existing art), provide lettering direction, approve color separations, and OK final print runs. These responsibilities pertain to individual “counter cards” as well as to cards in a collection or promotion that have to maintain a common design look and/or theme.
I advocate a common sense approach to creativity. One of the wonderful things about creativity is that it is almost infinite in terms of possibilities! But getting a product to market involves a lot of things that are much more “finite” – things like budget restrictions, production schedules, printing and manufacturing guidelines, etc. All of these “real world” things have to be taken into account before your brush even hits the canvas (or your finger clicks the shutter release, or you pick up the mouse – well, you get the idea!). A common sense approach to creativity means you take the time to find out about the things over which you have no control, so all your creative decisions can be informed creative decisions.
For instance, I’ve seen many talented illustrators use colors that the scanner just can’t read. Do you really want that bright red poinsettia to come out brown? Of course not! But even the most up-to-date scanner cannot register every single color the human eye can see. And many paints have a Day-Glo content that the scanner (a finite piece of machinery) can’t interpret. So it’s just common sense to check with the printer (or the company you’re designing for) to find out if they have a list of paints and colors to avoid (many of them do have such a list).
Another example is the importance of allowing for lettering space. On the surface it may seem simple enough but I have known many an artist to design a beautiful piece of art but leave no room for a caption at the top. (Hint: cards with lettering at the top usually sell better because the caption can be seen behind other cards in the rack.) A common sense approach to creativity means you know this isn’t just about the art itself but it’s about the final product, a greeting card, which means it consists of both art AND lettering. If you’re developing your own line of cards then you have the unique advantage of knowing what the editorial is going to be and you can plan your design accordingly.
If you want to be successful as a greeting card artist it’s also important to know as much as you can about the production side of things, and that includes understanding prepress as well (prepress is the process of preparing digital files for printing). Before computers and graphic software, artists had to do most of the work themselves, which meant they were responsible for painting flat backgrounds and precise borders. But if you take the time to do those things today, it can mean even more work for the company who’ll be manufacturing your design. The steadiest hand can’t rival a computer when it comes to flat backgrounds and parallel borders (believe me, I’ve tried!), and there may be parts of your work that not only can be done on the computer but should be done on the computer. So it’s common sense – and a real time saver! – to ask the Art Director what part of your design will be handled digitally. I usually instruct the artist to suggest colors and indicate borders on an overlay and then I let the in-house staff take it from there. With a little communication, it becomes a win-win situation for both the artist and the Art Director.
Featured Artist Leah Jay
