Whether it succeeds or fails, each project you launch is a stepping stone towards your next idea. Don’t bank so much on the success of one project that you don’t move on to the next one.
Do common things uncommonly well to set yourself apart.
Don’t force every idea to become a cash cow; leave some art just for yourself. You might still make money off of it, but don’t create it for that cause. Focus on the purity of the craft and let other endeavors (artistic or not) pay the bills.
Time spent perfecting your craft is not time wasted, and neither is time spent earning a living. Find the balance and appreciate both pursuits.
Jake asks, “How do you manage your free time and do the fun things you want to do, rather than getting sucked into social media?”
Ahhh, you finally arrive at that two-hour block of unscheduled time. You could paint, hike, play a sport, or read a book, but you choose to… scroll mindlessly through reels and wonder where the time went.
The key to enjoying your free time to the fullest is to plan ahead. Don’t give decision paralysis a chance; just pick one of those activities you’ve been dying to do and schedule it in your calendar. It might feel odd to schedule your free time, but it will eliminate that free-floating anxiety that accompanies your indecision, and you’ll do the things you always say you want to do. Trust us on this one!
Anon asks, “What printing company does Karen Schipper use? She didn’t mention the name during her 3PP interview.”
Watch Karen’s episode here.
We don’t have the answer to this question, but we can explain why some creators hesitate to share their printers, manufacturers, etc. It takes years of research and trial and error to find production partners who work for you. In this competitive industry, artists often keep this information proprietary. While not everyone feels the need to do so, it’s something to respect when asking other creators for their resources.
If you ask an artist about their printers or production partners or for any kind of mentorship (including portfolio reviews), offer them something of value in return. Take them to lunch and pay them for their time. Always be gracious if they turn down your requests, and before reaching out, do your homework. You don’t want to earn their time only to ask a question they’ve already answered in a podcast or on a YouTube video.
Dima asks, “I am an author and illustrator, but I can’t find an agent to represent me, and I can’t get enough followers on social media to generate sales from my self-published books. I have done everything you recommend on your podcast and have had little traction. I’m constantly improving my work, posting on social media, and even offering free portions of my work, but there’s no interest from consumers or agents. I don’t have another job to fall back on. What do I do?”
Always start with the work. The best social media or marketing strategy won’t save poor work, and the worst online presence won’t stop great illustrators from getting jobs. If you’re not getting any interest, it’s probably because your art is not interesting, even if it’s technically sound.
Take a year to hone in on your visual storytelling skills and revamp your portfolio with twenty new works. These pieces should contain stories, intrigue, and complex human emotions. Learn to illustrate interesting problems with interesting solutions. Here’s a trick: if the verbal description of a piece sounds dull, the piece probably is too.
Marketing and posting consistently is easy work; the challenge is putting yourself into your art. If you can do that, you’ll have a far greater chance of success because that’s the work most illustrators shy away from. Work to stand out!
Brian asks, “New artist here, struggling to find balance in my studies. I’m trying to learn art fundamentals, create master copies and finished work, and pick up specific techniques. If you had two hours a day to make art, how would you use your time?”
We would spend the first thirty to sixty minutes working on technical skills: perspective, shading, gesture drawing, watercolor techniques- whatever you’re practicing. We’d use the rest of the time to develop and finish real pieces.
Knowing what to focus on is the primary challenge of being self-taught. That’s why we designed our Fundamentals curriculum. It contains over twenty classes that take you from a complete beginner to someone who can illustrate a full scene competently. All of the classes are ordered so you never need to wonder what to work on next. Click here to check it out!
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Get the guidance you need on the path to becoming a better illustrator.
