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FREE Webinar: Creative Playgrounds

Thomas James

Thomas James

Thomas James is an Illustrator who has worked with The New York Times, WIRED, Pentagram, Wall Street Journal, The Los Angeles Times, and many others. You can see his portfolio at thomasjamesillustration.com.
Thomas James

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While making notes for Salli’s upcoming class – BUILD A FREELANCE ILLUSTRATION BUSINESS – she realized that one topic was worthy of it’s own session: Creative Playgrounds, which Salli and her brother/business partner Nate Padavick believe can energize your career. What IS a Creative Playground and why are they so important? Join us for the FREE webinar August 10th at 4:00 EST (or watch any time after the live class).

Take it from Albert Einstein “Play is the highest form of research.”

Posted by Thomas James on 07/30/15 under business,classes,Events,giveaway,resources,workshops / conferences
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20 Pieces of Advice from 20 Art Directors

Thomas James

Thomas James

Thomas James is an Illustrator who has worked with The New York Times, WIRED, Pentagram, Wall Street Journal, The Los Angeles Times, and many others. You can see his portfolio at thomasjamesillustration.com.
Thomas James

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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.

Posted by Thomas James on 07/27/15 under business
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Freelancers Work Harder

Thomas James

Thomas James

Thomas James is an Illustrator who has worked with The New York Times, WIRED, Pentagram, Wall Street Journal, The Los Angeles Times, and many others. You can see his portfolio at thomasjamesillustration.com.
Thomas James

building

Some people balk at the word “freelance”, as if it implies low quality work by lazy people in pajamas. In most cases, they couldn’t be more wrong.

After spending many years building and running my own business, there’s one thing I know for sure:

Freelancers work harder.

As many of my fellow Illustrators can probably attest to, running your own business takes everything you have. The person is the business, and the business is the person. There is no separation between the two.

Every aspect of running a creative business, from accounting to promotion to production to client relations, is the sole responsibility of the lone freelancer, which means that it’s up to the individual to succeed or fail.

This is why many freelance Illustrators either spend long hours toiling away in their studio or throw in the towel and go back to punching time clocks. If you’re the type to stick it out, you probably work harder for more hours than your peers who work for someone else. What’s more, you probably sacrifice more of your personal life and leisure, which is something many people who don’t work for themselves fail to understand.

In fact, I’ll go even further by saying that most freelancers I know work harder than any boss I’ve ever had anywhere. Period.

Pride of Ownership

The benefit of this is that the freelancer owns every success, every milestone, and every moment of pride that comes with running a successful business. On the flip side, of course, they also own every failure, every weakness, and every loss.

This can make for a more stressful life, to be sure, but it also yields the satisfaction of a path less traveled, and a sense of identity that can never be achieved by working for someone else.

Here’s to all the freelancers out there who work their butts off every day.

Posted by Thomas James on 07/27/15 under business
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Why You Don’t Need a Degree to Be an Artist

Amy Ng
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Amy Ng

Amy is a teacher, writer and a self-taught illustrator. Her blog Pikaland, is popular stop for illustration lovers, students and artists who are looking for answers on how to find a balance between art, creativity and commerce. Amy is also an adjunct lecturer at a local design college and has created online workshops for artists; teaching them how to use their unique strengths to create their very own opportunities. She believes that we each have a role to play and a story to tell –- and her personal mission is to help you discover what that is.
Amy Ng
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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.

Lim Heng Swee aka ilovedoodle

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]

Posted by Amy Ng on 07/24/15 under artists,business,freelance
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The Healthy Way to Compare Yourself to Other Artists

Thomas James

Thomas James

Thomas James is an Illustrator who has worked with The New York Times, WIRED, Pentagram, Wall Street Journal, The Los Angeles Times, and many others. You can see his portfolio at thomasjamesillustration.com.
Thomas James

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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?

Posted by Thomas James on 07/23/15 under business,freelance
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3 Ways Art Students Often Hurt Their Own Chances of Success

Thomas James

Thomas James

Thomas James is an Illustrator who has worked with The New York Times, WIRED, Pentagram, Wall Street Journal, The Los Angeles Times, and many others. You can see his portfolio at thomasjamesillustration.com.
Thomas James

5qualitiesart_mini

Are you going to Art School?

Did you decide to go to Art School to follow your dream of becoming a professional artist?

I firmly believe that Art School isn’t necessarily for everyone, especially with the growing amount of resources and alternative forms of self-education to be found online.

However, whether you’re taking the more traditional route or teaching yourself by other means, your education is an incredible opportunity that you might not be taking full advantage of.

There seem to be 3 main ways that Art Students unknowingly decrease their own chances of finding success after their actual or virtual “graduation”.

1. Not Considering Themselves Artists

There’s something very peculiar that happens when the average person begins to attend Art School.

Before their attendance, they likely considered themselves to be artists in one form or another, because it was a passion that they pursued on a daily basis and hoped to one day turn into a career.

After becoming an undergraduate student, however, many people insert the term “aspiring” in front of the term “artist” for some mysterious reason. It’s not that they are all of a sudden less of an artist, but there seems to be some sort of psychological reason for changing their perception of themselves that I’m not qualified to explain.

When I was in Art School, I couldn’t help but notice how many of my fellow students talked about themselves as “aspiring artists” or talk about how they hoped to be artists some day.

To my mind, this is a mindset that can do a lot to stunt your creative growth.

Instead, I think it’s extremely important to realize that you are an artist if you create art.

You may not be as experienced, or talented, or successful as other artists, but one of the best things you can do for your creative life is to declare yourself as an “artist”, not an “aspiring” one.

No one else is going to give that title to you, nor should they. You are an artist as soon as you decide that you are, no matter how much you feel that you still have to learn.

It’s a well known fact that even in your professional life, you will always have more to learn about art and illustration, and there is no known threshold to cross, other than the one that you set for yourself.

2. Not Taking Advantage of Resources

I’ve heard from a lot of professors and Chairs of Illustration programs that there is usually a small percentage of students who take full advantage of the resources and information available to them in Art School.

While I feel that some Art Schools have some room for improvement as far as their education on the business side of things, there are a great deal of resources available to students in the form of the guidance of highly knowledgeable and experienced instructors.

If you’re not making the most of this opportunity, you’re not getting the full benefit of your investment, and we all know that Art School is expensive.

If you are taking initiative and shooting for the moon as a student, you’re one of the determined few who will have a much better chance of making a living as an artist.

3. Depending Solely on Art School for Their Education

No matter what quality of education and resources a particular Art School provides, and no matter how well a student is engaged in their education, there still remains another common practice that serves to hold people back from their success as a creative professional.

Some students become so dependent on their Art School that they forget about the wealth of resources and information to be found out in the “real world”. This may refer back to the idea of not yet considering themselves to be “artists”.

However, it’s never too early to do everything you can to round out your education as much as possible.

Don’t fall into the trap of seeing your school as the only source of guidance.

Books, websites, podcasts, tutorials, and yes, even artists themselves are all great resources to mine for further information and inspiration. This is, after all, where you’ll likely pursue your continuing education after you graduate, so why not start now?

If you’re an art student, you will likely notice many of your peers holding themselves back in these ways every day. The good news is, avoiding the pitfalls listed above will set you apart from your fellow students and increase your chances of success as an artist.

The choice is yours.

Posted by Thomas James on 07/20/15 under business
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Learn How to Get Published as an Illustrator

Thomas James

Thomas James

Thomas James is an Illustrator who has worked with The New York Times, WIRED, Pentagram, Wall Street Journal, The Los Angeles Times, and many others. You can see his portfolio at thomasjamesillustration.com.
Thomas James

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Are you an artist or illustrator who dreams of seeing your designs in print?

Do you have an amazing book idea but have no clue how to get it published?

Few artists know how to pitch their work in a way that’s compelling to acquisition editors. That’s why literary agent Kate Woodrow created this online workshop to explore the different ways you can get your work published as an illustrator.

This 3 day online workshop will show you how to:

– Package your work into an idea publishers will love
– Find the right publisher for your book
– Navigate the publishing world as an artist

Check out Kate’s workshop Publishing Paths for Illustrators here >>

Posted by Thomas James on 07/20/15 under business
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How to Be More Creative in the Age of Over-Inspiration

Amy Ng
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Amy Ng

Amy is a teacher, writer and a self-taught illustrator. Her blog Pikaland, is popular stop for illustration lovers, students and artists who are looking for answers on how to find a balance between art, creativity and commerce. Amy is also an adjunct lecturer at a local design college and has created online workshops for artists; teaching them how to use their unique strengths to create their very own opportunities. She believes that we each have a role to play and a story to tell –- and her personal mission is to help you discover what that is.
Amy Ng
Follow me

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.

Neil J Rook

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]

Posted by Amy Ng on 07/16/15 under artists,business,freelance
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Get Your Art Printed on Laptop Sleeves

Thomas James

Thomas James

Thomas James is an Illustrator who has worked with The New York Times, WIRED, Pentagram, Wall Street Journal, The Los Angeles Times, and many others. You can see his portfolio at thomasjamesillustration.com.
Thomas James

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Society6, which serves as a great platform for creating products featuring your illustrations, has now added protective and stylish laptop sleeves to their growing list of options!

“Available in 13″ and 15″, these lightweight, high quality sleeves won’t disappoint. The outside material – polyester – is optimal for vibrant color absorption and accurately capturing every detail of a design. The design is printed on both sides, fully showcasing great artwork while keeping your pricey gear protected. Pulling back the zipper, you’ll find a super soft, scratch resistant micro-fiber lining.”

Find out how you can make laptop sleeves featuring your art with Society6!

Posted by Thomas James on 07/15/15 under apparel,business
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20 Pieces of Advice from 20 Illustrators

Thomas James

Thomas James

Thomas James is an Illustrator who has worked with The New York Times, WIRED, Pentagram, Wall Street Journal, The Los Angeles Times, and many others. You can see his portfolio at thomasjamesillustration.com.
Thomas James

2020-fin-ill

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.

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Screen Shot 2015-07-14 at 9.04.41 AM Screen Shot 2015-07-14 at 9.05.45 AM Screen Shot 2015-07-14 at 9.05.04 AM Screen Shot 2015-07-14 at 9.04.53 AM Screen Shot 2015-07-14 at 9.05.13 AM Screen Shot 2015-07-14 at 9.05.23 AM Screen Shot 2015-07-14 at 9.04.25 AM Screen Shot 2015-07-14 at 9.04.12 AMScreen Shot 2015-07-14 at 9.06.02 AMThanks 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.

Posted by Thomas James on 07/14/15 under art supplies,artists,business,classes,freelance,IF news update
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