tag:blogger.com,1999:blog-88322248700459813932024-03-14T01:22:14.405-07:00Loris AttacksSlowly and steadily making the dogged climb from creative individual with dreams to full-time art professional. This is a chronicle of my climb, from business tactics to lessons learned the very hard way, meant to help others in the same situation. Once I reach my goals, I will use this space to give others a helping hand as well.Josh Evans - Digital Artisthttp://www.blogger.com/profile/16664982954187021791noreply@blogger.comBlogger17125tag:blogger.com,1999:blog-8832224870045981393.post-18063586891628110162013-12-08T16:59:00.001-08:002013-12-08T17:04:24.177-08:00The Hollywood Myth<span style="color: red;">DISCLAIMER: This is not a critique or review of any studios or people in the film industry that I personally came into contact with during my time in LA. This is an appraisal of a city, it's reputation, and the industry that it became famous for. </span><br />
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Many people pursue their art education (particularly animation and visual effects) under the impression that once the degree is completed, they'll move to Los Angeles and pursue their professional art career. Hollywood is after all, the city of dreams right?<br />
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At the risk of coming off as a massive downer, I'm going to be dreadfully honest here. It is my belief that armed with the following knowledge a person could adjust their expectations low enough to actually be relatively happy living in Los Angeles.<br />
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Let me be clear, LA is a black hole. <br />
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Let's start with the city itself.<br />
No bones about it, Los Angeles is a racially-divided war zone, a smog-encircled pillar of smugness, a storm cloud of car fumes, and a desert of concrete, litter, and vehicles.<br />
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The only way a human being could thrive in such an environment is by being paid exorbitant sums of money or Stockholm syndrome. <br />
Despite this, here are several things to keep in mind when making the jump to the west coast.<br />
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<b>1) Prepare to Sit</b></div>
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The first thing I noticed upon doing some serious driving around LA is that the very notion of travel is an almost laughable construct. Don't expect to go anywhere without standstill traffic unless you carefully plan your route ahead of time (the route you must take to avoid multi-hours of stop and go traffic will depend on the time of day and month).<br />
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Notice the motorcycle in the photo riding between the lanes of cars. This happens constantly and often quite a bit faster than the speed limit. It's been my experience that local police don't seem to do much about it.<br />
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If you can avoid driving anywhere, do so.<br />
Parking is limited regardless of where you are in the city so expect to pay a ridiculous amount for parking tickets and parking garages.<br />
It will happen. <br />
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<b>2) Don't Breathe</b></div>
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Aside from <a href="http://www.huffingtonpost.com/2010/04/28/los-angeles-tops-nation-i_n_555249.html" target="_blank">topping the nation in air pollution</a>, Los Angeles also <a href="http://www.nrdc.org/media/2013/130808.asp" target="_blank">boasts nearly toxic water</a>.</div>
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It's good advice to say "don't drink the water" in reference to LA, but I've yet to find a good workaround for breathing the city's air.</div>
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Asthmatic? Allergic?<br />
Los Angeles will be quite the living hell for your lungs.</div>
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Other than being prepared mentally, there's very little to be done.</div>
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The amount of litter and general garbage laying around the streets and neighborhoods of LA/Hollywood is borderline obscene. Park your car for the night and come back in the morning to find a smattering of advertisements ranging from strippers to insurance under the windshield wipers, in the door handle, and stuck in every crack possible.</div>
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Some places have seasons. </div>
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Los Angeles has waves of garbage.</div>
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<b>3) Rent</b></div>
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<a href="http://www.nuthousepunks.com/blog/wp-content/uploads/2012/12/skid-row-la.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://www.nuthousepunks.com/blog/wp-content/uploads/2012/12/skid-row-la.jpg" width="320" /></a></div>
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<a href="http://hotpads.com/CA/Los_Angeles#limit=5&lat=34.0206318181818&lon=-118.20936818181801&zoom=18&previewId=1110388621&previewType=area&detailsOpen=true&listingTypes=rental,sublet,room,corporate&propertyTypes=house,divided,condo,townhouse,medium,large,garden,&dupeGrouping=building" target="_blank">Be prepared to pay through the nose for a small apartment in a terrible neighborhood</a>. Subsections of Los Angeles are broken into <a href="http://demographics.coopercenter.org/DotMap/index.html" target="_blank">racial divides</a> and finding an apartment in an area where you are unfamiliar with local language and <a href="http://www.lapdonline.org/get_informed/content_basic_view/23468" target="_blank">gang clothes</a> can be dangerous to your health.</div>
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Unfortunately, <a href="http://articles.latimes.com/2013/may/01/business/la-fi-mo-la-apartment-rents-20130501" target="_blank">rent rates</a> <a href="http://www.huffingtonpost.com/2013/09/04/apartment-rent-prices-los-angeles-_n_3868046.html" target="_blank">are only</a> <a href="http://www.businessweek.com/news/2013-09-24/southern-california-apartment-rents-forecast-to-rise-for-2-years" target="_blank">rising</a>. </div>
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<b>4) Create a Community</b></div>
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Without friends nearby (and I mean close, the traffic is so bad most people are hard pressed to drive very far), it is possible to slowly whither. </div>
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The general temperament of the populace in LA is <a href="http://www.salon.com/2012/12/20/why_are_l_a_people_so_mean/" target="_blank">not particularly friendly</a> and, given the reasons listed here, it seems almost self-evident. </div>
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<b>5) The VFX/Animation Industry is Choking to Death </b></div>
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<a href="http://www.hollywoodreporter.com/sites/default/files/2013/02/vfx_oscars_demonstration_h_2013.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="360" src="http://www.hollywoodreporter.com/sites/default/files/2013/02/vfx_oscars_demonstration_h_2013.jpg" width="640" /></a></div>
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<a href="http://www.hollywoodreporter.com/sites/default/files/2013/11/vfx_protest.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="360" src="http://www.hollywoodreporter.com/sites/default/files/2013/11/vfx_protest.jpg" width="640" /></a> Unless you are very far removed from any post-production news over the past decade, you already know about <a href="http://vfxsoldier.wordpress.com/" target="_blank">how much trouble the entire post-production industry is in</a> <a href="https://www.facebook.com/VfxSolidarityIntl" target="_blank">both financially and artistically</a>.</div>
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This doesn't look like it's going to change any time soon to be honest. </div>
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In summery, all of these points may seem very negative and dire.</div>
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Rest assured, this is only because the current climate in the industry as well as the city that made it famous is entirely negative and dire.</div>
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Unless you are a visual rock star right out of the gate with deep industry connections and a large trust fund, expect to fight tooth and nail for that entry level job.</div>
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Josh Evans<br />
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<br />Josh Evans - Digital Artisthttp://www.blogger.com/profile/16664982954187021791noreply@blogger.com2tag:blogger.com,1999:blog-8832224870045981393.post-29586403897200317792012-04-19T21:25:00.000-07:002012-04-19T21:25:01.924-07:00Working with HumansChances are, as a creative and imaginative individual, you may not be thrilled at the prospect of being a "team player". The same inner creative force within a person that compels them to crank out masterworks may pit them against the vision of their fellow artists when within a cooperative setting.<br />
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Recently, I was assigned to an short film as the only Matte Painter (and Painted Texture Artist) on board. We had a team of 18 women and men working on a film that was 85% computer art and 15% live-action integration in under 10 weeks. The tone of the project was inspired by the classic noir film "The Third Man". Experience levels across the board varied wildly.<br />
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Expectations were high.<br />
It was time to learn how to play nice with my fellow artists.<br />
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This is the final product.<br />
<iframe allowfullscreen="" frameborder="0" height="225" mozallowfullscreen="" src="http://player.vimeo.com/video/38793864?title=0&byline=0&portrait=0&color=c9ff23" webkitallowfullscreen="" width="400"></iframe>
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Here's a break down of all the work involved.<br />
<iframe allowfullscreen="" frameborder="0" height="225" mozallowfullscreen="" src="http://player.vimeo.com/video/40455148?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="400"></iframe>
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The following list is some of what I took away from the experience. The lessons learned apply not just to visual effects but to nearly every other kind of collaborative experiece I can think of.<br />
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<b>Lesson 1) Know Your Job. Do Your Job</b><br />
My job was to produce Matte Paintings, to help build a texture reference
library for the team to use, and to composite the live action plates
into my painted scenery. <br />
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Sometimes, people just don't pull their weight. My instinctive reaction is to pick up their slack, to work twice as hard and get all the work done. Unfortunatly, an artist is often put on these projects to only<b> </b> accomplish a specific set of goals and covering for someone else may set everyone back.<br />
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Here is my approach to peacefully solving the issue of another artist not doing their job in a way that impedes your progress.<br />
<i> A)</i> Talk to them face to face<br />
(if this is not possible send an e-mail and CC the supervisor); <br />
be specific about exactly what you need from them and when.<br />
<i>B) </i>If this does not produce results within the talked of timeframe,<br />
have a face to face discussion with your supervisor. Include all specifics.<br />
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<b>Lesson 2) Taking Daily Criticism</b><br />
Every time we met, our director would go over all progress and the entire team had the opportunity to voice their opinion of each others work.<br />
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This is of the utmost importance to the final product, being nice for the sake of sparing feelings will have a negative impact on the final quality of the shot under review.<br />
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On the other hand, being under the critique gun was pretty harrowing at first. Once the intial shock of having your work deconstructed in front of the entire team wore off, I began to really appreciate the opinions of my teammates and co-workers.<br />
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To get the most out of critique, take comprehensive notes. The director is always right and if I cannot convince him that he is wrong during critique, then all the changes he suggests will be implemented as soon as possible. I then factor the rest of the critiques in order of how much I agree with them personally and creativly. Some suggestions just don't hold up and it is your perogative as an artist on how to change your shots.<br />
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It can be difficult to conform your artwork to the vision of another, but if everyone on the team is working together in this regard, the tone and visual style the director has in mind will show through in the final combined product.<br />
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Last thought on this: don't just take criticism...ASK for it. <br />
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<b>Lesson 3) Know How to Stop</b><br />
In the fast paced world of digital effects, the due dates come very quickly and it is important to not a work a shot to death. Working on something that was missed during critique? Show your supervisor; you might not feel done with it but it might be time to call it quits.<br />
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A shot is not done when it is perfect.<br />
Art is not done when it is perfect.<br />
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The hardest question I kept having to answer near the end of the project was "<i>Are you done with this?</i>". The artist within me is never satisfied, but I have to reconcile my creative impulse with my professional need to complete all the tasks assigned to me.<br />
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Working hard is important.<br />
Working intelligently is even more imporant.<br />
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Happy Cooperation!<br />
Josh Evans<br />
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<br />Josh Evans - Digital Artisthttp://www.blogger.com/profile/16664982954187021791noreply@blogger.com0tag:blogger.com,1999:blog-8832224870045981393.post-86224288010711568782012-03-24T18:11:00.001-07:002012-03-24T18:12:28.735-07:00Don't be a Jerk: Contacts and Connections<b>Contacts are people.</b><br />
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If you want them to remember you well, be respectful and don't act as if they are inexhaustible gold mines that can be pushed to hire or commission you. Most people want to help you and will do what they can to either commission your services or set you up with someone who can. Even if they can't use you at the moment, they could possibly in the future. <br />
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<b>Most contacts aren't instant work.</b> <br />
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For people you met at a career fair, don't call them all the time. Constant checking in is actually counterproductive. The people that come to these events are already overloaded with emails and calls. Don't expect them to remember you personally right away. Remind them of the highlights of your conversation and your strengths as a way of jogging their memory, but keep it down to a couple sentences. Ask them about projects they had mentioned (if they did not mention anything, look them up online to see what they are currently working on). Check in with them a couple times, but if you don't get any response after a two or three times it may a good idea to give them some time. <br />
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<b>Treat a contact as though they are a formal version of a friend, hopefully this is what they will grow to be.</b> <br />
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Only cold call if necessary, these sporadic conversations tend to make everyone uncomfortable. Try to build an actual human relationship with people you want to keep in contact with. You know, the type of relationship that would make someone want to keep up with you and your work. Keep sending emails to check in with people from a Career Fair, but ask them if you can put them on a newsletter. Not only is this a more permanent and positive image, but it is also much more professional than being one of hundreds pleading to them for jobs on a biweekly basis. <br />
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Always ask before adding someone to your newsletter, and keep introductory emails short.<br />
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<b>A long email describing every virtue you have is not likely to attract new contacts.</b> <br />
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In short, treat contacts how you would want to be treated, and treat them online as you would in person. Many people see someone they meet on the internet as a place as a tool for success instead of a human being. The same applies to Career Fairs and similar opportunities. Be concise, remind them why they were interested in you, let them know how they can benefit from working with you, and ask them about current projects. <br />
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<b> Checklist for Contact Etiquette: </b><br />
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<li>Don't cold call unless necessary (especially repeatedly). </li>
<li>Don't email the same email thing more than once. If individual emails to someone seem inappropriate, ask if they would like to be added to your mailing list and send relevant quarterly updates. </li>
<li>Make honest, relevant, and concise conversation. </li>
<li>Be patient. See contacts in long term, not short term. </li>
<li>Be open to unlikely sources. </li>
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When you get a job be friendly, professional, deliver work on time and in the correct format etc. </div>
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Future work relies on good work and good communication <br />
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<b>Checklist for your Professional Hit List: </b></div>
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<li><i>Make a spreadsheet of all known contacts.</i> Separate contact info, how you know them, what they know, what they like/dislike about you, what you can do for them, and what they can do for you.</li>
<li><i>Whether twice a year or quarterly, go through that list and send updates. </i></li>
<li><i>This is where that newsletter comes in handy.</i> It may be a good idea to fine tune a newsletter for each contact. Whether one is more personal, or another is geared towards a separate market, just make sure its relevant to its recipients. It should contain new work, new projects, and a brief overview of what you've been up to. Bonus points if it's pretty. </li>
<li><i>I personally have a spreadsheet of people I would like to work for.</i> It helps me make think about who I actually want to meet/work for and take steps towards doing so. Its actually very helpful. </li>
<li><i>Record any responses, feedback, who you talked to, and their contact information</i>. This allows you to mention what they said or who you talked to in future conversations with the company/person. </li>
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-If you are in college it is by far the most effective to just talk to your career counselor about the issue of meeting and maintaining contacts...that's what they're paid to do. <br />
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-<a href="http://career.ucsf.edu/lifesci/samples/networking.pdf" target="_blank">Basic examples of proper email etiquette for the completely lost.</a><br />
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-<a href="http://www.streetdirectory.com/travel_guide/191129/world_wide_web/stay_in_touch_with_business__personal_contacts.html" target="_blank">Excellent article that agrees with me</a> :) <br />
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-Recommended Reading: Keith Farazzi's <a href="http://www.amazon.com/Never-Eat-Alone-Secrets-Relationship/dp/0385512058/ref=pd_bxgy_b_img_b" target="_blank">Never Eat Alone</a> (making contacts) and <a href="http://www.amazon.com/Whos-Your-Back-Relationships-Success/dp/0385521332/ref=pd_bxgy_b_img_b" target="_blank">Who's Got your Back</a> (keeping contacts) <br />
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<br /></div>Josh Evans - Digital Artisthttp://www.blogger.com/profile/16664982954187021791noreply@blogger.com0tag:blogger.com,1999:blog-8832224870045981393.post-65515344676348378542012-03-02T17:50:00.000-08:002012-03-02T17:50:02.376-08:00Software Free For All: A Loris Attacks Video Tutorial<br />
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From a traditional artist seeking a
better way to transpose ideas onto the canvas to a digital visual
effects wizard with a small pocketbook, the following tutorial will
be of great use to you.</div>
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I've spent the last several weeks researching packages that are not only free but have a strong user-base behind them. It is important to have resources to turn to if there are bugs or issues, so simply being free was not enough for a program to make our list.</div>
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<a href="http://2.bp.blogspot.com/-H71TnQR5awE/T1Fmjib65SI/AAAAAAAAAKY/md7arKosOLs/s1600/index.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="144" src="http://2.bp.blogspot.com/-H71TnQR5awE/T1Fmjib65SI/AAAAAAAAAKY/md7arKosOLs/s200/index.jpg" width="200" /></a></div>
<span style="font-size: large;"><a href="http://gimp-painter.en.softonic.com/%20" target="_blank">Download</a> <b>Gimp Painter </b></span><br />
Windows only, for a cross platform version of regular Gimp go <a href="http://www.gimp.org/%20" target="_blank">here</a>.<br />
<br /><a href="http://lorisattacks.blogspot.com/2012/01/digital-paint-workflow-loris-attacks.html" target="_blank">Loris Attacks Digital Paint Workflow</a> (the concepts apply to Gimp as well)<br />
<a href="http://www.youtube.com/watch?v=Y9tOnxHmRiw">Gimp Paint Studio Introduction</a></div>
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For Traditional Artists:</div>
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Gimp Painter is an intuitive way to quickly sketch out ideas and play with color/light concepts without ever having to use up precious materials. Saves money and time in the long run.</div>
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For Digital Artists:</div>
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Photoshop and Corel Painter cost money, granted there are free version available, but if you want all the features in one package without torrenting or purchasing then Gimp Painter is your new best friend!</div>
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<a href="http://4.bp.blogspot.com/-vBnrGIlevTU/T1FniFgp5yI/AAAAAAAAAKg/6uW8oB14x9w/s1600/110617-sculptris.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="116" src="http://4.bp.blogspot.com/-vBnrGIlevTU/T1FniFgp5yI/AAAAAAAAAKg/6uW8oB14x9w/s320/110617-sculptris.jpg" width="320" /></a></div>
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<span style="font-size: large;"><a href="http://www.pixologic.com/sculptris/%20" target="_blank">Download</a> <b>Sculptris</b></span></div>
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<span style="font-size: large;"><span style="font-size: small;">For Mac and Windows</span></span></div>
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<span style="font-size: large;"><span style="font-size: small;"><a href="http://members.casema.nl/jw.v.dronkelaar/sculptris_cheat_sheet.pdf%20" target="_blank">Hotkeys Cheat Sheet </a></span></span></div>
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<span style="font-size: large;"><span style="font-size: small;"><a href="http://www.pixologic.com/sculptris/gallery/%20" target="_blank">Gallery of Sculptris work</a> </span></span></div>
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<span style="font-size: large;"><span style="font-size: small;"><a href="http://www.youtube.com/watch?v=MpkDoE-JGo4" target="_blank">From Concept to Sculpt </a></span></span></div>
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<span style="font-size: large;"><span style="font-size: small;"><a href="http://www.youtube.com/watch?v=ud2_q0k-nD4&feature=related" target="_blank">The Basics</a></span></span></div>
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<span style="font-size: large;"><span style="font-size: small;">For Traditional Artists: </span></span></div>
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<span style="font-size: large;"><span style="font-size: small;">Perhaps you may not be the best digital sculptor, but that does not meant that you cannot benefit from the possibility of viewing something from any angle to sketch or paint! You can download free .obj models (<a href="http://www.turbosquid.com/Search/3D-Models/free/obj%20" target="_blank">here</a>, <a href="http://artist-3d.com/%20" target="_blank">here</a>, and <a href="http://www.creativecrash.com/3dmodels?&sorted=true%20" target="_blank">here</a>) and load them into Sculptris for an object, character, or place in the round at your disposal! Free reference that allows your creative freedom to flourish? Yes please!</span></span></div>
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<span style="font-size: large;"><span style="font-size: small;">Does importing a strange file into a (perhaps) terrifyingly digital program sound like a bit of a stretch for you despite the benefits? Here is a quick guide to <a href="http://www.youtube.com/watch?v=rZSws8HEo58" target="_blank">importing those .obj models and even getting started with a bit of sculpting</a> yourself!</span></span></div>
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<span style="font-size: large;"><span style="font-size: small;">For Digital Artists:</span></span></div>
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<span style="font-size: large;"><span style="font-size: small;">What if you could have the ease of use that Mudbox offers, from the makers of ZBrush, and all for free? That's the beauty of Sculptris, you can build up your texture and modeling portfolio for free. </span></span></div>
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<a href="http://2.bp.blogspot.com/-75cX5FNb4Qw/T1Fr4WlYOKI/AAAAAAAAAKo/VZKtBipAQrY/s1600/Google-Sketchup-Logo.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="173" src="http://2.bp.blogspot.com/-75cX5FNb4Qw/T1Fr4WlYOKI/AAAAAAAAAKo/VZKtBipAQrY/s200/Google-Sketchup-Logo.png" width="200" /></a></div>
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<span style="font-size: large;"><span style="font-size: small;"><span style="font-size: large;"><a href="http://sketchup.google.com/%20" target="_blank">Download</a> <b>Google SketchUp</b></span></span></span></div>
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<span style="font-size: small;">For Windows and Mac </span></div>
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<span style="font-size: small;"><a href="http://www.sketchupartists.org/tutorials/sketchup-and-traditional-drawing/sketchup-digital-watercolor-step-by-step/%20" target="_blank">From SketchUp to Watercolor</a> </span></div>
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<span style="font-size: small;"><a href="http://www.sketchupartists.org/tutorials/sketchup-and-traditional-drawing/drawing-a-church-campus-using-google-sketchup/%20" target="_blank">From SketchUp to Markers</a> </span></div>
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<span style="font-size: large;"><span style="font-size: small;"><a href="http://www.sketchupartists.org/tutorials/sketchup-and-traditional-drawing/creating-perspectives-with-sketchup/%20" target="_blank"><span style="font-size: small;">Creating Perspectives </span></a></span></span></div>
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<span style="font-size: large;"><span style="font-size: small;"><a href="http://www.sketchupartists.org/tutorials/sketchup-and-traditional-drawing/tradigital-drawing-using-the-simple-composite-method/%20" target="_blank">Exporting Line-Art</a></span></span></div>
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<span style="font-size: large;"><span style="font-size: small;">For Traditional and Digital Artists:</span></span></div>
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<span style="font-size: large;"><span style="font-size: small;">Google SketchUp is fantastic for pulling perspective on tricky situations. </span></span></div>
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<span style="font-size: large;"><span style="font-size: small;">With only several minutes spent, it is possible to rough out an entire environment of primitive forms that serve as excellent reference.</span></span></div>
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<span style="font-size: large;"><span style="font-size: small;">From digital paint to oils, Google SketchUp is a handy free tool for everyone!</span></span></div>
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<a href="http://3.bp.blogspot.com/-rP3firM555I/T1FwAvPnuNI/AAAAAAAAAKw/7Q2W21eBpkg/s1600/blender_logo.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="171" src="http://3.bp.blogspot.com/-rP3firM555I/T1FwAvPnuNI/AAAAAAAAAKw/7Q2W21eBpkg/s200/blender_logo.png" width="200" /></a></div>
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<span style="font-size: large;"><span style="font-size: small;"><span style="font-size: large;"><a href="http://www.blender.org/%20" target="_blank">Download</a> <b>Blender</b></span></span></span></div>
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<span style="font-size: small;">For Windows, Linux, and Mac </span></div>
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<span style="font-size: large;"><span style="font-size: small;"><span style="font-size: small;"><a href="http://www.blender.org/features-gallery/movies/%20" target="_blank">Crazy Amazing Things</a> you can do with Blender!</span></span></span></div>
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<span style="font-size: large;"><span style="font-size: small;"><a href="http://www.blender.org/education-help/tutorials/%20" target="_blank">Official Tutorials</a></span></span></div>
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<span style="font-size: large;"><span style="font-size: small;">Free Book: <a href="http://en.wikibooks.org/wiki/Blender_3D:_Noob_to_Pro%20" target="_blank">Blender 3D Noob to Pro</a></span></span></div>
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<span style="font-size: large;"><span style="font-size: small;">For Traditional Artists:</span></span></div>
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<span style="font-size: large;"><span style="font-size: small;">Unless you are planning on transitioning from traditional artist to digital animation or visual effects artist...you may not want to touch this one.</span></span></div>
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<span style="font-size: large;"><span style="font-size: small;">For Digital Artists:</span></span></div>
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<span style="font-size: large;"><span style="font-size: small;">There are some people who have a strong hatred for Blender simply because of how genuinely good it is. If Blender were a presidential candidate, the media would ignore it. This is a dark horse of a program simply because it is programmed by and for digital artists.</span></span></div>
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<span style="font-size: large;"><span style="font-size: small;">As a free alternative to Maya, 3DS Max, and Cinema 4D, Blender is fantastic.<br />I personally like this program better than all of the programs listed aside from Maya.<br />Blender is polarizing, yet impressive.</span></span></div>
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<a href="http://3.bp.blogspot.com/-3jRP6VUcGm8/T1FziElqLMI/AAAAAAAAAK4/-Sf2XRN-78k/s1600/rumble-in-the-jungle.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="http://3.bp.blogspot.com/-3jRP6VUcGm8/T1FziElqLMI/AAAAAAAAAK4/-Sf2XRN-78k/s320/rumble-in-the-jungle.png" width="320" /></a></div>
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<span style="font-size: large;"><span style="font-size: small;"><span style="font-size: large;"><a href="http://picogen.org/%20" target="_blank">Download</a> <b>Picogen</b></span></span></span></div>
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<span style="font-size: large;"><span style="font-size: small;"><span style="font-size: small;">For Windows or Linux </span></span></span></div>
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<span style="font-size: large;"><span style="font-size: small;"><a href="http://picogen.org/gallery.php%20" target="_blank">Gallery of Images</a> made with Picogen </span></span></div>
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<span style="font-size: large;"><span style="font-size: small;">For Traditional Artists:<br />Sometimes the fantastic or surreal landscape you want to paint or draw does not exist. The ability to generate an environment from your mind's eye to use as a reference is valuable, the nonexistent price tag is an added bonus.</span></span></div>
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<span style="font-size: large;"><span style="font-size: small;">For Digital Artists:</span></span></div>
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<span style="font-size: large;"><span style="font-size: small;">Whether you need a landscape for an environment sphere or a dynamic plate to base a matte painting off of, Picogen is a nice (free) alternative to Vue. </span><b><br /></b></span></div>
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<br /></div>Josh Evans - Digital Artisthttp://www.blogger.com/profile/16664982954187021791noreply@blogger.com0tag:blogger.com,1999:blog-8832224870045981393.post-10463683518474033122012-02-19T23:31:00.000-08:002012-02-19T23:31:25.480-08:00Get NoticedA basic guide to self-promotion <br />
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Artists are an independent bunch. Many of us have our own way we use our chosen medium, style, way of promoting, and pricing. We are self employed and make money off of our unique perspective. Each artist will have a slightly different take on promotion and even what success is. With that in mind, here's a general guide to promoting one's art in order to attract those who will pay for it.<br />
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As an Illustrator I'm approaching the concept of self-promotion from that perspective, hopefully many of these ideas will be useful for starting this process in most creative fields.<br />
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<b><span class="Apple-style-span" style="font-size: large;">The Website </span></b></div>
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<i>What to Include</i> </div>
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<a href="http://4.bp.blogspot.com/-mtxDzv83yao/T0HxFylne-I/AAAAAAAAAIo/QqUmpPbpTcY/s1600/Headers2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="http://4.bp.blogspot.com/-mtxDzv83yao/T0HxFylne-I/AAAAAAAAAIo/QqUmpPbpTcY/s400/Headers2.jpg" width="400" /></a></div>
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<b>Portfolio:</b><br />
12-15 pieces for beginners (up to thirty pieces for those with industry experience). </div>
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Maintain a cohesive style while showing a diverse subject matter. </div>
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Make visual comparisons and keep a strong narrative flow. </div>
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If possible make your best piece the first piece in your portfolio, another stunner as the last, and enough visual diversity throughout to keep interest. </div>
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Grouping by subject matter together in a small portfolio can make it stagnant. Put pieces together that stimulate the eye in differing ways, yet compliment each other.</div>
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Like looking through a magazine, your portfolio should tell a story of your artistic personality. </div>
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Do not pad your portfolio with mediocre work. Flaws stick out, and in the end, are what's remembered. Be very picky about what makes the cut. Then cut out a few more pieces.</div>
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What you should be left with is a cohesive, interesting, and beautiful selection of your absolutely best creations. </div>
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<b>Ideas for Enhancing Online Portfolios: </b><br />
Be sure to, whenever possible, tag and make searchable specific content. For example, if a client wants to see your proficiency at painting cats and only cats, they can simply search for them instead of going through all of your work and wasting precious time trying to find them. Many clients would rather look up another artist than wade through your entire portfolio looking for one thing in specific.<br />
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Register your sites with Google, it makes your page more credible and greatly improves its searchability. <br />
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<b>Contact Information:</b><br />
Use your professional e-mail address, not your school address which can often mark potential jobs as spam. </div>
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It is important to use your permanent address, not dorm address, so if a client mails you something over break, you can respond. They also may file this temporary address and thus lose contact once you move. </div>
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When listing your updated phone number, make sure your answering machine is clear and professional. </div>
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<b>Bio: </b><br />
Your Bio page or section on your website should be a concise guide to who you are and your interests. If possible, include any relevant awards or facts that might connect you to the viewer. Maybe they went to your college or lived in your home town. A Bio page is not essential, but its a nice touch.<br />
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<b>Link to Store:</b> </div>
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It is best to make it as clear as possible when a visitor is about to leave your site, perhaps this was not their wish and they can't figure out what happened. If possible, make any links to external sites open in a new tab. <br />
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Art directors are busy people. </div>
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Don't waste their time with lengthy intros or a complicated web design. </div>
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An elegant design that allows for easy navigation, minimal clicks, and quick loading screens are optimal. </div>
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<b><span style="font-size: large;">Social Networking</span></b><br />
Being completely honest, updating Twitter, Behance, Tumblr, Linkedin, Facebook, Creative Heads, and other art accounts isn't the highlight of my day, but social networking sites are highly important tools that link you to those who want to look at your work. Think of it as a platform you can use to reach possible employers. <br />
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<b>Tips for Social Network Success:</b><br />
Add art directors, creative directors, graphic designers, and the art departments of companies that share your aesthetic, values, interests etc. Get to know their work and do research on what they are looking for. Sometimes but not always, you can introduce yourself over these sites. Don't rush, adding a contact is like telling someone your name, its incredibly awkward to immediately expect something from someone who hardly knows you. So just say hello, properly introduce yourself and check in every once in awhile. Think of it in terms of an actual relationship, because that is exactly what it is. Don't use it as this account for personal content; if you want to tweet about how great your breakfast was, get a personal account.<br />
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<b>1) Keep it Classy</b><br />
Future employers have zero interest in your ability to duck face while wasted.<br />
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<b>2) Keep it Current </b><br />
Is your profile picture from your teenage years?<br />
Is your page loaded with outdated fan art?<br />
Replace these immediately and plan on posting sketches and current projects as you complete them.<br />
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Think of your networking accounts as a conversation with an employer. It should be friendly, concise, professional, and give a clear view into your thought process, communication skills, and your artistic personality. <br />
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For a list of networking sites to join, check out our <a href="http://lorisattacks.blogspot.com/2011/12/checklist-for-crazy-people.html">Checklist for Crazy People</a>.<br />
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<b><span style="font-size: large;">Mailers</span></b><br />
Generally, a mailer is a 4x6 postcard with an image of your creation on one side and contact info on the other. You can send them to people to introduce your work to them and hopefully inspire them to visit your website. Make it clean, beautiful, and informative of your style. Other that that, it's up to you.<br />
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Who should you send mailers to?<br />
Who were you looking to interact with on networking sites? In reality, one can get lists of art directors to "mailer bomb" for fairly cheap. However, I still recommend searching for companies that hire illustrators in your field with a similar aesthetic.Think of what the client, art director, etc as a person might want instead of as a symbol in relation to you. You are in a much better position to make a connection if you actually share interests and personality.Make a relevant, creative, beautiful presentation, and follow up.<br />
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Love music, posters, and cover art?<br />
Go to a record store and jot down the names of companies whose work you admire.<br />
When you have a passion for the work or what the company does, it bleeds into your work.<br />
Work with and for what you love.<br />
This idea is, once again, expanded upon in our <a href="http://lorisattacks.blogspot.com/2011/12/checklist-for-crazy-people.html">Checklist</a>.<br />
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<b><span style="font-size: large;">Business Cards</span></b><br />
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<a href="http://4.bp.blogspot.com/-NZgGbBtxfI4/T0HwkIIjz2I/AAAAAAAAAIg/xzywN2xRFCo/s1600/Final+business+card.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="179" src="http://4.bp.blogspot.com/-NZgGbBtxfI4/T0HwkIIjz2I/AAAAAAAAAIg/xzywN2xRFCo/s640/Final+business+card.jpg" width="640" /></a></div>
Buy fancy cards from <a href="http://moo.com/">Moo</a>.<br />
Buy cheaper cards from <a href="http://gotprint.com/">GotPrint</a>.<br />
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You can look up <a href="http://cardobserver.com/">galleries of business cards</a> for inspiration, but remember to keep the style cohesive with your other promotional materials. Keep it simple, and leave some space for them to write notes. Make your cards relevant to your industry, don't have a watercolor artist/yoga instructor/life-coach style card. To much information can turn you into an oxymoron.<br />
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<b><span style="font-size: large;">Get Noticed</span></b><br />
Competitions and conventions are good marketing tactics, competitions being the cheaper option. If you do attend a networking event such as a convention, have a pitch planned before you leave. All this is is you describing who you are and what you do in a clean, professional, and quick way. No "uuhms" or furrowed brows.<br />
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Be confident, friendly, and helpful.<br />
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<b><span style="font-size: large;">Sell Your Work</span></b><br />
Make some money, it might not be much to start off with, but you have to begin somewhere. How well you sell depends on how well you can network and promote yourself. I personally have a <a href="http://society6.com/">Society6</a> account, which is easy and professional, but more expensive than other options.<br />
Choose for yourself and comment on your favorites!<br />
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<a href="http://zazzle.com/">Zazzle</a><br />
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<a href="http://www.inprnt.com/">inPRNT</a><br />
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<a href="http://www.redbubble.com/">RedBubble</a><br />
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<a href="http://www.storenvy.com/">Storenvy</a><br />
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<a href="http://www.zatista.com/">Zatista</a><br />
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<a href="http://www.20x200.com/">20x200</a><br />
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<a href="http://www.artfire.com/">Art Fire</a><br />
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<a href="http://www.artybuzz.com/">Artybuzz</a><br />
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<a href="http://www.cafepress.com/">Cafe Press</a><br />
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<a href="http://etsy.com/">Etsy</a><br />
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<a href="http://deviantart.com/">Deviantart</a><br />
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<a href="http://greetingcarduniverse.com/">Greeting Card Universe</a><br />
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Good luck all!<br />
Bridget </div>
</div>Josh Evans - Digital Artisthttp://www.blogger.com/profile/16664982954187021791noreply@blogger.com0tag:blogger.com,1999:blog-8832224870045981393.post-13222813421079509682012-02-11T14:06:00.000-08:002012-02-11T14:06:21.150-08:00Stealing from the MastersGetting started and staying on task when approaching a creative project can be daunting. Sometimes a lot of my ideas die before any work is even completed simply due to a lack of any idea of where to begin.<br />
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This is where having a good artistic process comes in.<br />
The artistic process is a formula for success when creating a work of art.<br />
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An easy and effective way to come up with your own version of this process is to steal it from the artist you most want to emulate. Keep in mind this is not about actually copying their style, but their process. See if you can contact them or <!--[if gte mso 9]><xml>
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<![endif]-->see if they have written anything on the the steps they take to create a quality piece, which can serve as the basis for the way in which you create your own work. Over time your approach will evolve and various portions will be deleted, merged, or replaced.<br />
<br />
For Example:<br />
James Gurney paints fanciful, yet realistic, dinosaurs.<br />
I want to be realistic and fantasy-oriented, like James Gurney.<br />
I bought his book “<a href="http://www.amazon.com/Imaginative-Realism-Paint-Doesnt-Exist/dp/0740785508">Imaginative Realism</a>” online and spent a great deal of time reading it and taking notes. I highly recommend this book to all artists but especially those working in traditional mediums who are looking to break into realistic fantasy of any kind.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-7h67Eyu-s8U/TzbH_rCDMwI/AAAAAAAAAIE/jpTEdCSLUDY/s1600/9780740785504.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-7h67Eyu-s8U/TzbH_rCDMwI/AAAAAAAAAIE/jpTEdCSLUDY/s320/9780740785504.jpg" width="274" /></a></div>
<br />
Mr. Gurney has an entire section in his book about the artistic process. He describes the formation of his own process by copying the sixteenth-century painter Federico Barocci. <br />
Here is a streamlined rundown of Barocci’s process:<br />
<br />
1) <span style="color: red;">Decide upon an idea or concept.</span><br />
2)<span style="color: orange;"> <span style="color: #0b5394;">Make two dozen loose sketches to establish the gestures and arrangements of figures.</span></span><br />
3) <span style="color: red;">Sculpt miniatures with wax or clay, draped with tiny cloth costumes to test various lighting arrangements.</span><br />
4) <span style="color: #0b5394;">Do a small compositional study in gouache or oil, taking light and shadow into consideration.</span><br />
5) <span style="color: red;">Do a full size tonal study in pastels or charcoal. </span><br />
6) <span style="color: #0b5394;">Transfer the study in Step 5 to a canvas.</span><br />
7) <span style="color: red;">Using the decided upon and transferred composition, do some small oil studies to define color relationships.</span><br />
8) <span style="color: #0b5394;">Paint that sucker.</span><br />
<br />
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<br />
<b>Bridget's note:</b> <i>This process is still considered a standard today and is nearly identical to what I have learned over and over as an illustration major.</i><br />
<br />
This way of working must have worked out pretty well for Mr. Barocci as it led him to produce work such as this: <br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-4RTrlGtkSTw/TzbIXehV0fI/AAAAAAAAAIM/hIN6C26fw6U/s1600/Federico_Barocci_-_Madonna_del_Popolo_-_WGA1294.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://3.bp.blogspot.com/-4RTrlGtkSTw/TzbIXehV0fI/AAAAAAAAAIM/hIN6C26fw6U/s640/Federico_Barocci_-_Madonna_del_Popolo_-_WGA1294.jpg" width="443" /></a></div>
<br />
However fantastic his results, Federico’s process might be a bit strenuous or redundant for many modern artists given technological advances, therefore I have devised my own take on it. I am primarily a digital artist, but I think the following list could apply to many art forms.<br />
<br />
1) <span style="color: red;">Decide upon an idea or a concept without using a computer.</span><i style="color: red;"> </i><br />
<i>It is important to spend at least an hour producing concepts without any influence or reference. This allows your imagination to play without external influence.</i><br />
<br />
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<![endif]--><b>Bridget's note:</b> On steps 1, 2, and 3 spend as long as you can afford finding a great concept, and making a perfect sketch to base your work on. A piece without a good concept or base sketch is like an essay without a thesis. It has no base to stand on.<i><br /></i><br />
<br />
2) <span style="color: red;">Make a minimum of 12 sketches to further develop this idea.</span><i style="color: red;"> </i><br />
<i>This stage is often modified or shortened per due date. Once again, no Google-aided brainwaves in this stage...not even for reference. You can fix anatomy later, right now just rely on your creativity and imagination.</i><br />
<br />
3) <span style="color: red;">Decide to develop one of the sketches.</span><i style="color: red;"> </i><br />
<i>If you are producing professional work, the client often helps make this choice.</i><br />
<br />
4) <span style="color: red;">Use 3D software to check perspective and/or play with lighting possibilities.</span><i> </i><br />
<i>This step does not always apply, but when there is enough time it is very helpful and freeing.</i><br />
<i>CG software as an artist’s tool is often overlooked due to its
possibility to be a bit complex. </i><br />
<i>My next post will be a video overview
on CG packages and the super-basics on how to use them as a digital
artist!</i><br />
<br />
<b>Bridget's note:</b> For traditional artists, gather reference material, whether wax sculpture, or photographs. It's really best to take your own images but as long as the images procured are being used legally, photos from others are fine. Check to see if everything has similar lighting and correct perspective, in your sketch once all aspects have been added to the piece. Be wary of the fish eye effect of photographed images, these can be corrected digitally, but its much easier to avoid them simply by having multiple photos to base a particular sketch on. <br />
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5) <span style="color: red;">Compile CG and Sketch in Photoshop and on three separate layers, rough out three different light schemes.</span><i style="color: red;"> </i><br />
<i>Use straight black and white with a large brush, this step should only take several min. The basics of the next several steps are covered in my video tutorial, <a href="http://lorisattacks.blogspot.com/2012/01/digital-paint-workflow-loris-attacks.html">Digital Paint Workflow</a>.</i><br />
<br />
<b>Bridget's note:</b> In oil painting, this is referred to as painting lean over fat. It works pretty much the same as a digital painting. One first lays down the darkest darks, then the lightest lights, then works in and adjusts middle range values, all the rest is glazes of transparent layers and details!<br /><br />
6) <span style="color: red;">Decide upon a color scheme and create a rough color layer</span><i style="color: red;">.</i><br />
<i>Can't decide on colors</i> <i>schemes?</i> <i> </i><br />
<i>Go <a href="http://colorschemedesigner.com/">here</a></i> <i>or find a photo/painting you love and use those colors!</i><br />
<br />
7) <span style="color: red;">Paint that sucker.</span><br />
<br />
8) <span style="color: red;">Perfect the color palette using non-destructive filters.</span><br />
<br />
<br />
Happy Creating,<br />
Josh EvansJosh Evans - Digital Artisthttp://www.blogger.com/profile/16664982954187021791noreply@blogger.com0tag:blogger.com,1999:blog-8832224870045981393.post-59583258918460708232012-02-04T11:19:00.000-08:002012-02-04T11:19:55.130-08:00Freaking Expensive Art SuppliesArt supplies are insanely expensive.<br />
<br />
Here is my compilation of ways to cut down costs.<br />
Do you have a reliable and inexpensive website or place you go to for discounted or free supplies?<br />
Please share any suggestions in the comments below!<br />
<br />
<i> NOTE:</i> Here is a link back to a previous post by Josh when referring to where to find free or cheap alternatives to expensive computer programs, (<a href="http://lorisattacks.blogspot.com/2011/12/lair-of-artist.html">Lair of the Artist</a>). All materials in this post refer to things that get under your nails.<br />
<br />
<b>Online Vendors </b><br />
In general, I check both <a href="http://www.jerrysartarama.com/">Jerry's Artarama</a> and <a href="http://www.amazon.com/">Amazon</a> to see if either has a good deal on whatever supplies I need. Jerry's has more of a selection and is usually about fifty percent off in-store price, while Amazon often offers significantly cheaper items but is always a gamble to see if they actually have the specific item you need. There are a ton of other sites that offer similar rates listed below, I happen to like Jerry's the best.<br />
<br />
<i>Craigslist Note: </i>Did I mention always, always, always meet in a public place? Shopping on <a href="http://craigslist.org/">Craigslist</a> can mean finding lots of free and incredibly cheap things but <i>always</i> proceed with caution.
<br />
<br />
<br />
<b>Hardware Stores </b><br />
An amazing array of things you would never have thought of looking for here. Linseed oil, odorless mineral spirits, shop towels, and soap that doesn't destroy your hands after the eighth time of washing off oil paint that day. Airbrush masks, frisket (aka contact paper or laminate), tape of all kinds, utility knives, interesting paint knives, varnishes, solvents, sponges, and all sorts of weird devices that could be used to create texture.<br />
Really, I would just recommend going to a nearby hardware store and checking it out to see if it has anything you could use. Think creatively, be inspired, and support your local business whenever possible.<br />
<br />
<b>Trading/Sharing with Friends </b><br />
Especially within the same major or field, it really helps to have a friend who also needs to buy that thirty dollar bottle of varnish or fifteen dollar bottle of spray. As an added bonus, talking to friends is amazing for finding new techniques and tools to advance your art.<br />
<br />
<b>Flea Markets and Garage Sales </b><br />
These used-item sales usually only yield cheap canvases that only need a layer of gesso to cover all of the happy trees or loitering deer previously painted on them. Despite the lack of regularity, these venues are still worth a look or two.<br />
<br />
<b>Links! </b><br />
Check them out and find your favorite.<br />
<br />
<a href="http://jerrysartarama.com/">Jerry's Artarama</a><br />
<a href="http://cheapjoes.com/">Cheap Joe's</a><br />
<a href="http://www.aswexpress.com/">ASW Express</a><br />
<a href="http://www.misterart.com/">MisterArt</a>!<br />
<a href="http://www.dickblick.com/clearance/">Dick Blick Clearance Section</a><br />
<a href="http://lowes.com/">Lowes</a><br />
<a href="http://homedepot.com/">Home Depot</a><br />
<a href="http://zazzle.com/">Zazzle</a> (print your stuff and sell it)<br />
<a href="http://moo.com/">Moo </a>(good place to print business cards)<br />
<a href="http://jetpens.com/">Jet Pens</a> (everything i've bought here has given absolutely stunning results..try the zebra dip pen nibs)<br />
<a href="http://dafont.com/">DaFont </a>(ubiquitous source for free fonts, most require permissions for commercial use however)Josh Evans - Digital Artisthttp://www.blogger.com/profile/16664982954187021791noreply@blogger.com0tag:blogger.com,1999:blog-8832224870045981393.post-40645096995038283802012-01-27T17:26:00.000-08:002012-01-27T17:29:21.199-08:00Digital Paint Workflow: A Loris Attacks Video TutorialA total beginner to the concept of digital painting? An experienced veteran with years of professional experience? This video tutorial offers a buffer for the new digital artist and a fresh perspective for the veteran.<br />
<br />
The painting I will be using is one I have been working on for <a href="http://kimberlykinrade.com/" target="_blank">Kimberly Kinrade</a> of <a href="http://www.evolvedpub.com/" target="_blank">Evolved Publishing</a>.<br />
<br />
It is for a children's book called Maddie World which is currently in the very early stages, so you are offered what amounts to a sneak preview of the flavor so far. Maddie World is book three of a series of books I have illustrated called the The Three Lost Kids series; these books offer an unusual challenge as the style of the illustrations is not native to me.<br />
<br />
Bella World (book two) is done and is going to be released soon, but you can see more examples of this art style in <a href="http://www.amazon.com/Lexie-World-Three-Trilogy-ebook/dp/B006NRP7N4/ref=sr_1_1?ie=UTF8&qid=1327709044&sr=8-1" target="_blank">Lexie World</a> (book one). <br />
<br />
If you like what you see, check out my <a href="http://www.facebook.com/pages/Josh-Evans-Digital-Artist/194855337261334" target="_blank">Facebook</a>, <a href="http://youngyoda13.deviantart.com/" target="_blank">DeviantArt</a>, or <a href="http://www.joshrevans.com/" target="_blank">Website</a>.<br />
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<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="http://player.vimeo.com/video/35778105?title=0&byline=0&portrait=0&color=ff000d" webkitallowfullscreen="" width="640"></iframe>
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<a href="http://www.bittbox.com/photoshop/how-to-make-a-photoshop-brush" target="_blank">Create Custom Brushes in Photoshop</a></div>
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<br /></div>
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<a href="http://colorschemedesigner.com/" target="_blank">Make Color Schemes</a></div>
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Advanced Photoshop Workflow Tutorial</div>
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(by one of my favorite artists EVER!)</div>
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<a href="http://www.youtube.com/watch?v=HNetnFXolNc" target="_blank">Part One</a></div>
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<a href="http://www.youtube.com/watch?v=8D-uXppZTJ4" target="_blank">Part Two</a></div>
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<a href="http://www.youtube.com/watch?v=CopmBXDR1PY"><span id="goog_1852371286"></span>Part Three<span id="goog_1852371287"></span></a></div>
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<a href="http://4.bp.blogspot.com/-7DCX3WF96kI/TyM8d8IZ_OI/AAAAAAAAAH8/PCWOFpd_sj8/s1600/LavaFairyQueen.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://4.bp.blogspot.com/-7DCX3WF96kI/TyM8d8IZ_OI/AAAAAAAAAH8/PCWOFpd_sj8/s400/LavaFairyQueen.jpg" width="272" /></a></div>
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Thanks for watching and I hope it was both enjoyable and educational!</div>
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-Josh Evans</div>
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<br /></div>Josh Evans - Digital Artisthttp://www.blogger.com/profile/16664982954187021791noreply@blogger.com6tag:blogger.com,1999:blog-8832224870045981393.post-20032011397703261032012-01-18T18:42:00.000-08:002012-01-18T18:42:17.793-08:00Loris Interviews Jaqui OakleyIn a shift from the digital, here is an interview with the absolutely inspiring artist, Jaqui Oakley. She works physically in acrylic, oil and acrylic ink. Jacqui Oakley has received awards from Applied Arts, Communication Arts, American Illustration and The Society of Illustrators Las Angeles. She currently teaches at the Ontario College of Art and Design.<br />
<br />
Go to her <a href="http://jacquioakley.com/" target="_blank">page</a>, gawk, and weep. <br />
<br />
This interview contains her tips for aspiring illustrators.<br />
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<a href="http://3.bp.blogspot.com/-YM7muCu-4Ks/Txd7zQvpc4I/AAAAAAAAAG4/hcBnz8N7llE/s1600/BLOG_j_OAKLEY_LION.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="355" src="http://3.bp.blogspot.com/-YM7muCu-4Ks/Txd7zQvpc4I/AAAAAAAAAG4/hcBnz8N7llE/s400/BLOG_j_OAKLEY_LION.jpg" width="400" /></a></div>
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<b><span style="color: red;">LA!</span></b> How did you put together your portfolio and did you select your work based on the markets, subject matter, or style?<br />
<br />
<b>Oakley:</b> Out of school I really had hardly anything in my portfolio so in my spare time I would try to work on 'real-world' projects which would hopefully pique the interest of art directors. I would look through magazines at the sort of pieces that were getting published and try and do something with a similar subject matter. I also tended to focus on what I was good at (which at the time was portraiture) and really tried to finesse it. As years went by I got more interested in doing hand-lettering but had no examples of this in my portfolio. So once again I just came up with my own projects to fill out my portfolio more.<br />
You'll find that working on your portfolio and 'style' is a continuous process. Sometimes illustration work will give you something that you've never thought of before and this will lead you down a different path. As long as you stay interested in art and design, those inspirations will seep into your work and your work will evolve naturally into something you're excited by and something that plays on your strengths. <br />
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<b><span style="color: red;">LA! </span></b>Describe your process from getting contracted by a client to finishing a project.<br />
<br />
<b>Oakley: </b>After accepting a job from a client, and having received the pertinent project information (article, brief, etc.) I start off brainstorming with words and small doodles of random ideas that come to mind, then maybe collecting a bunch of reference images before then moving onto roughs and linears. Once a linear is approved, sometimes after some revisions, I blow it up to the size I'm going to work with and transfer it onto paper. I used to work in oils, but these days I usually block out a few areas in acrylic paint, trying to keep it loose and get some texture in there with dry brush. Then I go onto inking lines, and then maybe a few spots of colour again in acrylic or coloured ink. Sometimes, especially for smaller spot illustrations, I'll ink the lines by hand, then scan and add the colour digitally. At the end I'll place the image up on my server and send the client a link to pick it up. <br />
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<a href="http://3.bp.blogspot.com/-3T8IZKLSxYs/Txd8GadnwyI/AAAAAAAAAHA/Erb4jIua5Qw/s1600/woodpecker_jOakley_cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://3.bp.blogspot.com/-3T8IZKLSxYs/Txd8GadnwyI/AAAAAAAAAHA/Erb4jIua5Qw/s400/woodpecker_jOakley_cover.jpg" width="286" /></a></div>
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<span style="color: red; font-weight: bold;">LA! </span>What do you think are the best tools for promoting yourself as an illustrator? Are book portfolios still in demand?<br />
<br />
<b>Oakley: </b>I've found that it's hard to tell what's best for promotions. It changes so quickly, and it's such a different experience for each artist. I've always had a good experience going to New York and meeting people in person, which I've not had a chance to do in the last few years. So, I've not used my book in quite a while now.<br />
<br />
I've had a good experience with getting a mailing list (I use Agency Access) and mailing out an email promo once every other month. Mailing list services will be able to tell you which people opened your email and who actually clicked though to your site. This is obviously extremely helpful. Once or twice a year I'll follow up with a smaller run of postcards that I'll send to focused groups based on the response from the email promo. I really try and do my own research by looking at illustration and design award annuals and seeing who hires illustrators.<br />
<br />
I've also had a good experience with Twitter and Dribbble, which is sort of a portfolio site for designers. I've also got good feedback when I've collaborated on projects with other designers or artists, which have then appeared on blogs, sending a bunch of traffic my way.<br />
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You have to remember that art directors come across so much work – the key is to be persistent. Even though ADs might like your work the first time they see it, it'll get filed away until a suitable job pops up. By then you could be at the bottom of the pile, so have a regular schedule that reminds them but doesn't harass them. Also, as your career develops you'll find that business, promotion and administration will take up most of your time so try and find time to do personal pieces which will keep your work fresh and exciting to yourself and to others.<br />
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<span style="color: red; font-weight: bold;">LA! </span>What advice would you give an illustration student?<br />
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<b>Oakley: </b>It's tough at first going out on your own. Remember that everyone has had really slow times. Just keep promoting yourself and doing good work and it'll pay off. It's silly, but don't forget that you enjoy art & design. Sometimes when art/design becomes a daily routine it can seem like a chore. So, try and remember to work on personal projects when you can, collaborate with friends, & continue looking at things to keep getting excited & add to the vocabulary of your work. It'll come through in the end. <br />
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<span style="color: red; font-weight: bold;">LA! </span>What is the most difficult part of being an illustrator and what is most rewarding?<br />
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<b>Oakley: </b>The fact that your job is so tied to your personal interests is both a blessing and a curse. It's hard to separate your personal life from your professional life especially when you work from home. You want to put in long hours since you enjoy what you do, and sometimes you need to because of tight deadlines. So trying to maintain some semblance of a schedule is key. On the other end of things you get to draw for a living and collaborate with interesting creative people, which is pretty amazing. You're part of a long line of illustrators that have commented on and even changed society. An added bonus is not needing to get up early and go to an office and you can wear track pants all day if the mood suits!<br />
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All images are from Jacqui Oakley's site at jacquioakley.com<br />
Have a nice week!<br />
-Bridget Beorse<br />
<i><br /></i><br />
<i>Josh's Several Cents and Links:</i><br />
<i>Greetings all! Next week will be the first instillation of a video tutorial series (by me) on digital arting as well as some awesome new articles from Bridget (Keeping art supplies affordable? What wizardry is this?)! Stay tuned!</i><br />
<i><br /></i><br />
<a href="http://www.cgskies.com/" target="_blank">Awesome HDR SkyMaps for fellow CG folks</a><br />
<br />
<a href="http://www.emptykingdom.com/main/" target="_blank">Empty Kingdom, a social networking site for artists</a><br />
<br />
<a href="http://www.gamasutra.com/" target="_blank">The Art and Business of Making Games</a><br />
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<a href="http://www.worldofleveldesign.com/" target="_blank"> Tools and Advice for becoming a Level Designer and Environment Artist</a>Josh Evans - Digital Artisthttp://www.blogger.com/profile/16664982954187021791noreply@blogger.com0tag:blogger.com,1999:blog-8832224870045981393.post-86081533060775407072012-01-11T11:39:00.000-08:002012-01-18T18:01:17.098-08:00Loris Interviews Stephan MartiniereBefore getting back to our regularly scheduled barrage of helpful articles and (coming soon) video tutorials, I have the honor of introducing a fantastic Artist and Art Director, <a href="http://www.martiniere.com/about/" target="_blank">Stephan Martiniere</a>. He has been winning awards for his imaginative and transportive work since the early nineties and remains a frontrunner in the art field to this very day.<br />
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Stephan Martiniere has worked on films, books, games, and even designing amusement parks among other things. Recently, he just published a fantastic art book called <a href="http://www.martiniere.com/shop/index.php?l=product_detail&p=89" target="_blank">Velocity</a> (also available in a <a href="http://www.martiniere.com/shop/index.php?l=product_detail&p=88" target="_blank">Limited Edition</a> version!).<br />
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Before reading the interview he gave us, be sure to check out his expansive <a href="http://www.martiniere.com/gallery/" target="_blank">portfolio</a>.<br />
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<b style="color: red;">LA!</b> A major step between a student and a professional is a solid portfolio. How did/do you approach building yours? Are book portfolios still in demand?<br />
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<b>Stephan:</b> One of the advantages of a book portfolio is the face to face interview you have with the client; you can verbally expand on each image, talk about the technique used and sell your personality. You can also sense how the client reacts to the work and direct him to the works that will matter to him. But as in depth as these interviews can be they are time consuming and costly if you have to travel long distances to meet the client, you also need several portfolios if you need to send it to several places at once. But this was then. When computer started to become more of a common thing I created CD portfolio, this allowed me to create something more interactive with FX and sound, the cost was reasonable and I had multiple copies at my disposal. There were still a lot of clients who wanted to see me be I could always leave them the several CD to be passed around after the interview. Now days with the Internet being part of everyday life I direct clients to my web site.<br />
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Mine is relatively straight forward but today artist can go more complex and be very creative if they want to. There is no need for a CD for me anymore but the book portfolio is still very relevant. I do a lot of shows and lectures and sometimes there is no computer at your disposal. The lower cost of printing also allows a lot of artists to create many different types of portfolios, from fancy brochures to mini books, there are a lot of creative and relatively inexpensive ways to reach clients. I do a lot of brochures, flyers, cards and now that I have three art books I can use them and offer them as well when necessary. I always tell aspiring artists and beginners to be prepared for anything, so having multiple options is a must. In terms of how I present my art whether in a book portfolio or online I tend to tailor it to work for all my different clients so it is divided right away in categories ranging from creatures and robot, characters, to books, animation, games, environment etc, so my clients can quickly go to what interest them. <br />
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<b style="color: red;">LA!</b> Quite often students of the arts are told things like “it’s all about connections”. How true is this mindset and how did/do you approach forging your connections?<br />
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<b>Stephan: </b>In my opinion, good work will always get you there, its just a matter of time, but connections are very important and having them will most likely get your foot in the door faster. I guess it’s more about how much in a hurry you are. For me my connections happened slowly but steadily. I was also working in many different industries at the same time so it took a little longer to build a solid network. The market is constantly changing so making connections never stops; I am still making connections every week. I believe as long as you stay relevant as an artist you ll keep making more connections. The hardest part when you are connected to so many is to stay connected. <br />
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<b style="color: red;">LA!</b> As an artist in this technologically advanced age do you find yourself returning to fine art or digital? What mediums do you utilize the most? <br />
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<b>Stephan: </b>I was trained traditionally and that has never left me, I still use pencil and paper in one form or another regardless of how much digital I use. My primary digital tool is Photoshop, then Painter but I now also use more and more 3D software such as 3d studio max, Sculptris, or 3d coat these tools allow me to expend my creativity and help me with complex ideas as well as to achieve different results. These softwares are incredible, they have reshaped my career and I hope they will continue to do that in the years to come but as cool as they are there is still no feel like a pencil on paper or a brush on board or canvas. I remember when I was working at Cyan on Myst 5, I had to come up with a series of characters and I had to choose how to execute them, my choice was to approach the execution as if different fictitious artist’s from different Myst periods, had drawn these. This decision allowed me to go back to drawing in charcoal on big size paper, a thing I hadn't done since school.<br />
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I remember how frustrated I was at the beginning; nothing was coming out right and my garbage bin was filling up with one failed attempt after another, but drawing is like a bicycle. Once you've learned it, you never forget. It took me several days and I remember the intensity and pleasure once it started to come back, the large and bold gestures with your hands smearing the charcoal on the paper, digital can't give you that feel. Even on a smaller scale, when I draw with a regular pencil, there is a precision in my gesture that I cannot emulate on a tablet or even a Cintiq. All in all I am glad I can switch from digital to traditional and enjoy both. <br />
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<b style="color: red;"> LA! </b> What do you find to be the best tools for self promotion?<br />
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<b>Stephan: </b>These days I would say my online portfolio, my art books and emailing and updating clients on my new works.<br />
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<b style="color: red;"> LA!</b> How often did you “work out” artistically in order to reach the level of excellence you currently enjoy? Do you still practice as often or does it eventually just come naturally?<br />
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<b>Stephan: </b>I am trying a lot of new things lately, as I mentioned previously I am using 3D more and more and I am very demanding with myself so there will be a lot of practice, trials and errors to reach the comfort zone I'd like to be in. This was the same way when I started with Photoshop. I just knew I had to learn it. I could see what I could do with it and that inspired me for many years. I am obviously a lot more comfortable with it now. Once the technicality is not an issue all the concentration goes to the creative aspect of the work and that's when cool things start happening. When I started with Photoshop it was important to me to find an artistic signature and that forced me to push the envelop and explore different ways to use the software. Over the years I was able to find some very unique and personal ways to paint with some satisfying results. A lot of what I do now comes naturally and that's a good thing. It allows me to be fast and efficient but there is still a part of me who keep looking for new challenges and 3D seems to be the new frontier for me.<br />
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<b style="color: red;">LA! </b>What advice would you give an artist wishing to use their creative talents as a career?<br />
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<b>Stephan: </b>There are tons of artistic possibilities out there. When I was younger I never fully realized how many artistic options existed. I would say that for anyone wanting to make a career as an artist, knowledge is the key. Today with the Internet at everyone's fingertips there is no excuse for an aspiring artist not to know what possibilities are out there. Films or games are cool but not necessarily the coolest fields one could aspire to work in. There are fields such as art, photography, fashion, graphic or web designs, industrial design, publishing etc, the list is long. The important thing is to always be curious and once one picks an avenue, do more research in depth. I always tell students, "know your industry, find out who's out there, the schools, companies, what and how they do things, who is your competition etc. The more you know, the better your chances”.<br />
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<b style="color: red;">LA!</b> As a professional artist, what is the most common "rookie mistake" you see?<br />
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<b>Stephan: </b>I would say the most frequent I see from “rookies” is not having enough solid artistic foundations to support their art. Another mistake I see a lot is the tendency for students to embrace a popular technique without fully understanding it thus mimicking and only scratching the surface but this is also due to the lack of the basic artistic foundations mentioned above. The good news is that these common mistakes are not new, they take on a different form due to the new tools and techniques offered but they are part of the artistic process, digital or not, I used to make them myself too.<br />
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Many thanks to Stephan Martiniere for the advice and guidance. Be sure to check out his new book <a href="http://www.martiniere.com/shop/index.php?l=product_detail&p=89" target="_blank">Velocity</a>, and his killer-cool <a href="http://www.martiniere.com/gallery/" target="_blank">portfolio</a>!<br />
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Until next time,<br />
Josh Evans<br />
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<br />Josh Evans - Digital Artisthttp://www.blogger.com/profile/16664982954187021791noreply@blogger.com0tag:blogger.com,1999:blog-8832224870045981393.post-17760684922027371762012-01-04T12:55:00.000-08:002012-01-04T16:48:10.558-08:00Loris Interviews Jon SchindehetteThis week Loris Attacks! was provided the opportunity to interview the award-winning senior creative director at Wizards of the Coast, Jon Schindehette. <br />
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Aside from being an artist himself, Mr. Schindehette has started a giant art community that offers creative challenges for fellow artists as well as professional advice and guidance via insightful blog posts. I highly recommend anyone attempting to break into an art career to check out the <a href="http://theartorder.com/" target="_blank">ArtOrder</a> community!<br />
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<span style="color: red;"><b>LA!</b>: A major step between a student and a professional is a solid portfolio. How did/do you approach building yours? Are book portfolios still in demand? </span><br />
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<b>Jon:</b> Strategies for portfolio building are often more art than science. In fact, I'll be doing a weekend workshop on this project in September - it's that big a subject! A couple of things that I keep in mind when I'm building my book(s): <br />
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• Who is the book for? Which company, which product line, which art director? A book needs to be targeted and relevant to capture the eye of a potential client. <br />
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• What work do I have that best represents the needs to the person the book is for? I start out by sorting my work by 'appropriateness" rather than whether it is "my best work". Sometimes my best piece isn't relevant and will actually bring down my portfolio in the eyes of the reviewer. <br />
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• Thin till it hurts. Did I cut it down to 20 pieces pretty easily? Great, then cut it to 15. It it was tough, but not grueling...then cut it to 10. Cut until it feels like you couldn't cut a single image and still hold your book together...and then cut one more. <br />
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Physical portfolios are STILL in demand. In fact, they are still my preference over viewing bloated and unfocused portfolio sites. <br />
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<b style="color: red;">LA!:</b><span style="color: red;"> Quite often students of the arts are told things like “it’s all about connections”. How true is this mindset and how did/do you approach forging your connections? </span><br />
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<b>Jon:</b> It IS all about connections. Building connections should be one of the most important tools in your self-promotion toolbox. You can be the most amazing illustrator in the world, but if an art director or editor isn't aware of you - you'll never get work. Creating connections is another of those questions that could take hours to really address fully. I build connections in any way I can dream up. I get to know the people in the industry that can get me work, I get to know the artists that are getting the work, I get to know rising stars, and make myself available to folks that have less experience than myself. I volunteer my time and energy locally and globally in as many ways as I can find ways to make myself of service. I never say "no" to a "learning opportunity", and every time someone asks for help - it's a learning opportunity :) <br />
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<b style="color: red;">LA!</b><span style="color: red;">: Although you are primarily a digital painter, do you ever return to the fine arts mediums? If so, what mediums do you utilize the most? </span><br />
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<b>Jon:</b> Loving oils again. I've gotten back to them after a 20+ year break and am just loving the newfound freedom and expression I'm finding in the marks! I have recently started working in metals again, and having fallen in love with blacksmithing. I think every creative venture helps us improve our eyes, and opens up new creative space in our brain. I know that pottery helped me see spatial forms in a way that I never suspected back in my earlier career, and doing 3d modeling opened my eyes to spatial forms even more. Never underestimate how playing in a different medium will open your creative world! <br />
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<b style="color: red;">LA!</b><span style="color: red;">: What do you find to be the best tools for self promotion? </span><br />
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<b>Jon:</b> Your mind. <br />
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<b style="color: red;">LA!</b><span style="color: red;">: How often did you “work out” artistically in order to reach the level of excellence you currently enjoy? Do you still practice as often or does it eventually just come naturally? </span><br />
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<b>Jon</b>: See #3 <br />
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<b style="color: red;">LA!</b><span style="color: red;">: What advice would you give an artist wishing to use their creative talents as a career? </span><br />
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<b>Jon</b>: Work hard, draw/paint daily, expand and grow your skills. Learn something with each and every project, grow your network....and follow the Robh Ruppel credo "Be good. Be nice. Communicate." <br />
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<b style="color: red;">LA!</b><span style="color: red;">: As an Art Director, what is the most common "rookie mistake" you see? </span><br />
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<b>Jon</b>: Two-fold... <br />
1) Not including contact info or portfolio url in communications. <br />
2) Not showing relevant work samples<br />
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Closing notes:<br />
Many thanks to Mr. Schindehette for this fantastic interview, I look forward to using this advice to strengthen my body of work and encourage our readers to do the same.<br />
Brew your coffee, sharpen your pencils, and boot up your imagination; your next masterpiece is just around the corner!<br />
-Josh Evans<br />
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Supplemental Material:<br />
<a href="http://theartorder.com/" target="_blank">The ArtOrder</a><br />
<a href="http://jonschindehette.com/" target="_blank">The blog of Jon Schindehette</a><br />
<br />Josh Evans - Digital Artisthttp://www.blogger.com/profile/16664982954187021791noreply@blogger.com2tag:blogger.com,1999:blog-8832224870045981393.post-61623739591212315902011-12-28T13:56:00.000-08:002012-01-02T05:19:30.554-08:00A Ready Defense (Contracts 101)<br />
Being able to afford food is nice.<br />
This is a handy guide on how not to get screwed by contracts and how to actually bend them to your advantage! <br />
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The importance of having a signed and agreed upon contract before actually starting work on commissioned art cannot be understated. This document allows everyone involved to fully understand what they are getting into before, you know, getting into it. It also means that you are infinitely more likely to actually get recognition, (deleted repetition) payment in the amount expected, and at the time it was expected. Make sure that in your contract, it states any and all details concerning the job and therefore, any later additions to terms must be added to this contract and signed by both parties. This way, if the check arrives with additional obligations and claims to rights, there is a legal precedent that you can fall back on. <br />
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<a href="https://www.graphicartistsguild.org/resources/ask-mark/mark-pre-contract-checklist/%20" target="_blank">Here's a checklist by the Graphic Artist Guild for things to consider when forming a contract!</a><br />
<a href="https://www.graphicartistsguild.org/resources/ask-mark/mark-pre-contract-checklist/"></a><br />
It may be handy to bring along a printed copy of industry standard prices for similar work. It not only establishes a basis for pricing, but it also establishes a high level of professionalism. Standards for current (similar) work can be found in the 13th edition of the Graphic Artist's Guilds' Hand Book: Pricing and Ethical Guidelines. This book sets the standard for commercial artists, it will become your most valuable possession. <br />
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<a href="http://escapefromillustrationisland.com/2009/11/18/escapee-speaks-how-to-educate-your-clients-part-2-industry-standards/%20" target="_blank">Explaining industry standards to clients.</a><br />
<a href="http://escapefromillustrationisland.com/2009/11/18/escapee-speaks-how-to-educate-your-clients-part-2-industry-standards/"></a><br />
When negotiating the terms of a contract, always discuss money last. This will give some time to get the details nailed out before coming up with a number. It also allows time to establish your professional credibility and knowledge within your given field. When money does comes up, you can (deleted more) easily point to where the costs are coming from and why they are justified, or what might be done to adjust them. Options for lowering a clients fee can include restricting usage rights or simplifying the design or colors used. One could even request a larger number of tear sheets (samples of one's work how it would appear in the final format) or an advertisement within the final publication.<br />
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The idea is to negotiate something that leaves both parties happy. <br />
Returning clients are one's that have been treated fairly. <br />
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When given a contract, take it home and read it over. Makes notes (removed “next to”) and cross out parts that you don't agree with. Talk over all suggested changes with the client. <br />
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Always try to find a better option than work for hire. Often this is a line put in contracts by lawyers who want to avoid any and all legal complications. However, they do this by stripping a commercial artist of any and all rights. Many times, negotiations can give the clients the rights they want without resorting to such drastic measures. <br />
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<a href="https://www.graphicartistsguild.org/handbook/%20" target="_blank">More on The Graphic Artists Guild's handbook.</a><a href="https://www.graphicartistsguild.org/handbook/"></a><br />
<a href="http://www.amazon.com/Graphic-Artists-Handbook-Pricing-Guidelines/dp/0932102158/ref=sr_1_1?ie=UTF8&qid=1325100955&sr=8-1%20" target="_blank">and where you can buy the book cheap. </a><br />
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Sample contracts (<a href="https://www.graphicartistsguild.org/resources/contract-monitor/letter-of-agreement/%20" target="_blank">1,</a> <a href="http://escapefromillustrationisland.com/2010/01/07/sample-contract-for-illustrators-and-designers/%20" target="_blank">2,</a> and <a href="http://scad-atl-illu.blogspot.com/2008/04/illustration-contract-templates.html%20" target="_blank">3</a>) <a href="http://escapefromillustrationisland.com/2010/01/07/sample-contract-for-illustrators-and-designers/"></a><br />
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Further Resources on Contracts: <br />
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<a href="https://www.graphicartistsguild.org/resources/contract-monitor/%20" target="_blank">The Graphic Artist Guild will help you rework your terrible contract! </a><br />
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<a href="http://www.blogger.com/%20https://www.graphicartistsguild.org/resources/copyright-myths/%20" target="_blank">Get a free PDF on Copyright Myths from the Guild (by giving them your email address) </a><br />
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<a href="http://www.copyright.gov/">http://www.copyright.gov/</a> <br />
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Escape from Illustration Island on <a href="http://escapefromillustrationisland.com/2010/01/06/how-to-protect-yourself-with-a-solid-contract/%20" target="_blank">contracts</a> and <a href="http://www.blogger.com/%20http://escapefromillustrationisland.com/2009/11/20/escapee-speaks-things-to-consider-when-pricing-your-work/" target="_blank">pricing! </a><br />
<a href="http://escapefromillustrationisland.com/2010/01/06/how-to-protect-yourself-with-a-solid-contract/"></a><br />
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Good luck guys, in the future, look forward to Invoices 101 AKA. Getting Paid!<br />
Also, Happy Holidays!<br />
-Bridget <br />
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<i>Hoping your Christmas was Merry and your New Year will be...Conscious! </i><br />
<i>-Josh's Several Cents</i><br />
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<br /></div>Josh Evans - Digital Artisthttp://www.blogger.com/profile/16664982954187021791noreply@blogger.com0tag:blogger.com,1999:blog-8832224870045981393.post-14272243042597488872011-12-22T21:34:00.000-08:002011-12-27T19:12:50.487-08:00Lair of the Artist<br />
Regardless as to whether you will have a cubicle in an office or a freelance work-from-home sort of a job, setting up an efficient personal studio is of the utmost importance. As you will be spending quite a bit of time in this space, it will have to be pretty comfortable as well. <br />
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The sanctity of the studio is a very important aspect of its existence. It helps to have your studio in a room that has no other purpose, when you walk into your studio it will be for creation intentions only. Making the studio a sacred place helps with time management as you will be less distracted; humans are creatures of habit. The office is for work and the home is for play. <br />
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<span style="font-size: large;"><b>A Fine Art Studio </b></span><br />
<b>Drafting Table: </b><br />
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It’s important to find a table with an adjustable angle in order to get that perfect drawing surface. Clipping large sheets of paper to the surface of this table will give you a scratch pad to test out paint dabs, colored pencil lines, etc. <br />
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Can’t afford an expensive drafting table? <br />
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Here are several tutorials on how to build your own table (<a href="http://home-repair.helium.com/how-to/8592-how-to-build-your-own-drafting-table%20" target="_blank">1,</a> <a href="http://www.ehow.com/how_3391978_build-own-drafting-table.html%20" target="_blank">2,</a> <a href="http://www.ehow.com/how_4478502_make-own-drawing-table.html%20" target="_blank">3,</a> and <a href="http://www.curbly.com/users/chrisjob/posts/9735-how-to-make-a-diy-adjustable-drafting-table-from-any-desktop%20" target="_blank">4</a>)! <br />
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<b>Lighting: </b><br />
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The light in a studio can make or break a work of art as some bulbs have different color temperatures than others. The best solution I have found is to have both an incandescent bulb and a fluorescent bulb shining on my workspace in even amounts. Have just one or the other will change the look of your work as incandescent bulbs produce yellow-orange wavelengths and the standard fluorescent bulb overemphasizes the color green. <br />
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If you can get your hands on some color-corrected light bulbs I would recommend using those; check your work periodically with the incandescent and fluorescent as an added precaution. You will not always be able to control how your art is displayed, so having it look good under most lighting circumstances will only help you in the long run. <br />
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Natural light is also great to work by, just keep in mind that every source of light has a distinct color temperature. <br />
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<a href="http://www.lumenport.com/colortemperature_clip_image001.jpg%20" target="_blank">Handy chart about color temperatures and light bulbs.</a> <br />
<a href="http://www.crslight.com/fluorescent-lighting.htm%20" target="_blank">More information about how color correct light bulbs work. </a><br />
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<b>Organization: </b><br />
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As a drafting table is typically slanted, having a secondary table or shelving unit in reach can be a lifesaver when it comes to supplies. The organization portion of setting up a studio does not have to be expensive, I personally use a shelving unit made of milk crates and storage segments made from coffee tins and canning jars. Use your imagination when setting up. You must know where everything is located and be able to reach it from your chair in order to further streamline the process. <br />
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<i>Bridget's notes: </i><br />
If working with multiple types of physical media, its best to separate each medium into its own compartment. I mark acrylics with a smear of the color inside across the top to easily see the internal color when reaching for a tube. Clean constantly as paint gets everywhere, its is infinitely healthier to have a clean studio and really sucks to work in to a room reeking of solvent. <br />
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Still get everything messy? I have painting clothes, paper towels, and cleaner in an easy to reach place at all times. Dish soap and a sponge clean most things. If they don't work, open the window and try some mildew remover. <br />
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<b>Ventilation: </b><br />
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If you work with organic solvents (turpentine, etc.) it is especially important to keep a fan and open window handy. A closed off room can be a very dangerous place to paint! I would absolutely recommend wearing rubber gloves with cross ventilation (a fan pointed towards an open window). Oil solvents over a long period of time and in very rare cases can cause anemia of the bone marrow which can be deadly. Turpentine and acetone are the most dangerous, odorless mineral spirits and Gamsol the safest. However, by limiting your exposure in this way, this possibility is all but removed. If this freaks you out, use linseed oil instead. However, this extends the drying process immensely, as in weeks to months. <br />
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When using sanding paint, spraying aerosol, and dealing with possibly noxious powders, if you can, go outside. In large amounts, use an airbrush mask or bandana. Some inks and pens have been known to cause extreme nausea and fainting. An easy way to tell if precautions should be taken with materials is on the back. If there is a logo that says "ACMI" which means that the health implications are listed or "AP" which means non-toxic. <br />
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Finally, don't drink, eat or smoke anywhere near your art. This is the most important thing one can do to stay healthy when working with physical mediums. Paints can contain lead cadmium and other goodies, soldering has lead gas, and most mediums either end up on one's hands or in the air. Ingesting anything near chemicals allows much greater absorption as well as the risk of ingesting the medium on accident. <br />
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(<i>This section is also written by Bridget, if you have any questions or concerns about this topic, contact her. She's sort of a geek about it and will talk your ear off.</i>) <br />
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<a href="http://acminet.org/Safety.htm#one%20" target="_blank">What does an ACMI label mean? </a><br />
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<a href="http://www.stanprokopenko.com/blog/2009/03/setup-painting-studio/%20" target="_blank">Fine Art Studio Setup Walkthrough by Stanislav Prokopenko! </a><br />
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<span style="font-size: large;"><b>The Digital Studio </b></span><br />
<b>The Computer: </b><br />
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Mac or PC? Tablet or Cyntiq? There is a ton to choose from in this arena so be sure to fully research your options. I personally use a PC that dual boots Windows and Linux in order to better run and implement various CG programs. I recommend getting an additional hard drive to back-up the contents of your regular drive onto at least once a week. <br />
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Don’t want carpal tunnel or back problems for the rest of your life? Invest in an ergonomic keyboard, mouse, and chair. Be sure to get up every once and a while and stretch, go for a walk when you feel you have been staring at the screen for too long. <br />
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Spend less money for more power by building your own computer. You can order the various parts from web sites like <a href="http://www.newegg.com/%20" target="_blank">NewEgg</a> or <a href="http://www.tigerdirect.com/%20" target="_blank">Tiger Direct</a>. <br />
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<b>The Screen: </b><br />
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My setup consists of a 1080p color corrected widescreen monitor as well as a smaller, older, and un-corrected screen. The main screen I use is for the various views in 3D modeling programs or the canvas in painting programs. All of my sculpting tools or paint brushes are on the secondary screen, alongside my music or whatever television show/movie I have running as well. Having a secondary, uncalibrated screen is also nice for previewing your artwork as it will be seen by most viewers. <br />
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<a href="http://www.photofriday.com/calibrate.php%20" target="_blank">Computer Monitor Calibration Tool </a><br />
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<a href="http://www.hongkiat.com/blog/inspirational-workspace-creative-setups/%20" target="_blank">60 Digital Art Studio Setups </a><br />
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In closing, I will now mention the most important part of any artist’s studio…I cannot overstate it’s importance. The CoffeeMaker. <br />
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Good luck setting up,<br />
Josh Evans <br />
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<span style="font-size: large;"><b>Bonus Links: </b></span><b> </b><br />
<b>Free Art Software: </b><br />
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<a href="http://www.gimp.org/" target="_blank">GIMP </a><br />
(Like Photoshop)<br />
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<a href="http://inkscape.org/" target="_blank">Inkscape </a><br />
(Like Illustrator)<br />
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<a href="http://mypaint.intilinux.com/" target="_blank">MyPaint </a><br />
(Like Corel Painter)<br />
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<a href="http://www.getpaint.net/" target="_blank">Paint.net </a><br />
(Free Image Editor)<br />
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<a href="http://www.scribus.net/canvas/Scribus" target="_blank">Scribus </a><br />
(Like Indesign or Publisher)<br />
<br />Josh Evans - Digital Artisthttp://www.blogger.com/profile/16664982954187021791noreply@blogger.com1tag:blogger.com,1999:blog-8832224870045981393.post-62348553105566489032011-12-14T16:03:00.000-08:002011-12-14T18:13:22.031-08:00Checklist for Crazy PeopleAt the moment my hair is standing on end from all the work I have to accomplish before the end of winter break and before I graduate. But really, many of you I'm sure, are bored of hearing about this phenomenon because you are in the midst of a similar situation.<br />
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So I thought, maybe we could help each other out? <br />
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Below I have compiled links and advice on all of the things that I, and a possibly a few of you, have yet to accomplish. Do any of you have any tips for achieving meteoric success?<br />
Please leave a comment below. <br />
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Not running around frantically trying to break into the professional art world by the end of the year? <br />
Quite a few of these links are helpful for literally any artist looking to up their game.<br />
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<span style="font-size: small;"><b> </b></span><span style="font-size: x-large;"></span>Ladies and Gentlemen, I present to you the "Checklist for Crazy People".<br />
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<span style="font-size: large;"><b>Design Professional Stationary and Business Cards</b></span><br />
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An entire youtube channel devoted to making you better at photoshop basics!<br />
The videos are both hilarious and educational, highly recommend.<br />
<a href="http://www.youtube.com/show/yousuckatphotoshop?s=1" target="_blank">You Suck at Photoshop: The Tutorials</a><br />
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<a href="http://www.photoshopsupport.com/photoshop-cs5/tutorials/photoshop-cs5-tutorials.html" target="_blank">More Photoshop Tutorials</a><br />
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<a href="http://escapefromillustrationisland.com/2010/10/27/tutorial-from-sketch-to-vector-illustration/" target="_blank">Turn your sketches into vector shapes in Illustrator</a><br />
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<b><br /><span style="font-size: large;">Update the Website </span></b><br />
Improve your web design and typography with these beauties:<br />
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<a href="http://www.dontfeartheinternet.com/" target="_blank">The basics of web design</a> <br />
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<a href="http://www.type-a-file.com/" target="_blank">Making your type look more interesting</a> <br />
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I use <a href="http://wordpress.com/" target="_blank">wordpress</a> for my personal site, so I will be checking <a href="http://codex.wordpress.org/Blog_Design_and_Layout" target="_blank">this</a> out as well.<br />
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Josh uses a combination of Photoshop, Dreamweaver, and <a href="http://www.godaddy.com/" target="_blank">GoDaddy</a> (although he has personal issues with their "tasteless" advertisements).<br />
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<span style="font-size: large;"><b>Start Networking Online</b></span><br />
It is not necessary (or even recommended) to throw yourself into every one of the networking sites mentioned below, click around and see where you would be a good fit. The idea is that you expand your level of exposure, feel free to mix and match!<br />
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<a href="http://www.tumblr.com/" target="_blank">Tumblr</a> (great for a work-in-progress style picture blog)<br />
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<a href="http://www.twitter.com/" target="_blank">Twitter</a> (build a fanbase and barrage them with links of your latest and greatest!)<br />
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<a href="http://www.behance.com/" target="_blank">BeHance</a> (good utility for display many parts of a complicated project)<br />
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<a href="http://www.linkedin.com/" target="_blank">LinkedIn</a> (sort of like Facebook for professionals without all the spam)<br />
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<a href="http://www.facebook.com/pages/create.php" target="_blank">Facebook Fanpage</a> (<a href="http://www.learntoart.com/index.php/archives/drawing/facebook-fan-pages-for-artists/" target="_blank">article on why you as an artist need to have one</a>)<br />
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<a href="http://www.deviantart.com/" target="_blank">DeviantArt</a> (believe it or not, this is still used widely by many professional artists, just avoid the furries)<br />
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<a href="http://theartorder.com/" target="_blank">The ArtOrder</a> (excellent community for professional artists made by the Art Director of D&D)<br />
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<a href="http://conceptart.org/">ConceptArt.org</a> (the original professional art networking site)<br />
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<a href="http://cghub.com/" target="_blank">CGHub</a> (not just for 3D but it is mostly used for digital painting as well)<br />
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<a href="http://idrawgirls.com/">idrawgirls.com</a> (do you want to draw girls for a living?)<br />
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<a href="http://creativeheads.net/">CreativeHeads.net</a> (they send you job openings for free in a monthly e-mail)<br />
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Josh's 3.14 Cents (Awesome Related Articles):<br />
<a href="http://skinnyartist.com/but-im-an-artist-and-marketing-is-lame/" target="_blank">But I’m an artist, and marketing is lame!</a><br />
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<a href="http://skinnyartist.com/how-to-create-and-destroy-your-reputation-as-an-artist/" target="_blank">How to Create (and destroy) your Reputation Online as an Artist!</a><br />
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<span style="font-size: large;"><b>Update Art Director/Design Firm list:</b></span><br />
Keep a list of Art Directors that terrify you to contact.<br />
The time has come to actually contact them, or just hang out in record stores thinking about it!<br />
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<i>Book/Editorial Illustration:</i><br />
Has anyone noticed that independent bookstores tend to have better and more illustrated books and magazines? <a href="http://www.indiebound.org/indie-store-finder" target="_blank">Find these resources near you!</a> <br />
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<i>Band posters, CD's, Shirts and things:</i><br />
I tend to take pictures on my phone of covers or posters and then check to see if the band/organization/corporation used a design agency or has an in house Art Director that chose the illustrator. Also, you could (I am working on doing this) email the band or their agent your portfolio or a piece you think would work on their gear personally.<br />
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<i>Graphic Design Annuals</i> are especially helpful for finding art directors but <i>Illustration Annuals</i> can allow you to backtrack and see what similar artists are working on. <br />
Look for:<br />
<a href="http://3x3mag.com/">3x3mag.com</a><br />
<a href="http://printmag.com/">printmag.com</a><br />
<a href="http://howdesign.com/">howdesign.com</a> <br />
<a href="http://cmykmag.com/">cmykmag.com</a><br />
<a href="http://aiga.org/">aiga.org</a><br />
<a href="http://commarts.com/">commarts.com</a><br />
<a href="http://ai-ap.com/">ai-ap.com</a><br />
and the <a href="http://www.societyillustrators.org/" target="_blank">Society of Illustrators</a> annual<br />
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<i>A word on contacting an Art Director: </i><br />
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Being that it is so easy to find and a way to contact an Art Director these days, it can seem like a great idea to send every art director whose contact information you find your bio, portfolio, and a message about how much you love them and need work immediately. But in general, it is better to ask them if they want to be contacted or what format they'd like your portfolio in before sending everything and waiting. They get hundreds of emails, not to mention postcards etc, everyday and a little courtesy might just be the thing that makes you stand out. Including a link to your portfolio beneath your name in the e-mail is acceptable, but don't push anything without asking first.<br />
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<i>Advice:</i> Build a relationship before asking favors on social networking sites, and in the case of email, ask them what format they would like to view your portfolio (a link to your website, a pdf, printed, a link the gallery of your images you put together specifically for them?) and let them have a voice in it.<br />
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<span style="font-size: large;"><b>Expand Portfolio/Hone Skillset</b></span><br />
<a href="http://layersmagazine.com/" target="_blank">Anything you ever wanted to know about Adobe products!</a><br />
<a href="http://www.tutorial9.net/category/tutorials/" target="_blank">Tutorials covering nearly every design-related topic imaginable</a><br />
<a href="http://illustrationclass.com/category/free-tutorials/" target="_blank">A free internet education in Illustration.</a><br />
<a href="http://escapefromillustrationisland.com/education/" target="_blank">Overview of Art Education Institutions as well as tons of Free Tutorials</a> (tutorials sections is at the bottom)<br />
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Josh's 3.14 Cents:<br />
<a href="http://skinnyartist.com/9-warning-signs-of-an-amateur-artist/" target="_blank">9 Warning Signs of an Amateur Artist</a><br />
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<span style="font-size: large;"><b>Enter Illustration Competitions</b></span><br />
<a href="http://www.societyillustrators.org/Awards-and-Competitions/Student-Scholarship/Call-for-Entries/2010-Student-Scholarship-Call-for-Entries.aspx" target="_blank">Society of illustrators 2012 Student Competition</a><br />
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<span style="font-size: large;"><b>Get a Job/Commission.</b></span><br />
An entire post about this subject in detail?<br />
We update every Wednesday!<br />
Stay tuned.<br />
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Good Luck Everyone!<br />
-Bridget BeorseJosh Evans - Digital Artisthttp://www.blogger.com/profile/16664982954187021791noreply@blogger.com2tag:blogger.com,1999:blog-8832224870045981393.post-60054382530517840482011-12-07T14:30:00.001-08:002011-12-07T15:21:10.748-08:00The Commission Survival Guide<br />
<span style="font-size: small;">The transition from Student to Professional Artist can often be a painful process, full of missteps and difficult lessons learned. I'm still deeply within the learning portion of this journey and continually growing with every falter, but here are some things that would have made the start considerably easier! <br /><br /><br /><br /><br /><b>Get a Contract.</b></span><b> </b><span style="font-size: small;"> </span><br />
<span style="font-size: small;">As a gullible Sophomore during my Winter Break, a friend of a friend offered me the opportunity to design an entire line of advertising for a spinoff company funded by a major corporation. The mix of wanting to please my friend, the prospect of possible connections, and the decent payment offered by my contact at this new business, all were exciting beyond belief. I felt very professional and creative, being offered such an important freelance job like that! <br /><br /> To shorten a lengthy tale of harsh deadlines and waves of critique, I have yet to see a single penny of the agreed upon payment. As soon as the job was complete my phone calls and e-mails were no longer returned. I worried that the company may have gone under but, upon further investigation, they were doing quite well and using the fliers I had made for them. To this day the company in question has continued to grow and excel, thus pounding home my message. <br /><br /> Don't be a chump. </span><br />
<span style="font-size: small;">Get a contract. </span><br />
<span style="font-size: small;">Until you have their signature, your pen does not touch the paper.<br /><br /> </span><br />
<b><span style="font-size: small;">Become Psychic. </span></b> <span style="font-size: small;"> </span><br />
<span style="font-size: small;">I have had clients who know exactly what they want out of a project and clients who will give you complete freedom, both are dangerous in their own way. As an artist it is extremely important to get inside the head of the person or organization that commissions you. The best way to do this, for me, is a Skype conversation. This allows me to ask them on the spot questions about the material and receive their immediate reactions; sometimes their perspective on the project is slightly different from what they may write in an e-mail. <br /><br />A client who knows exactly what they want can produce a difficult situation as what they see in their head may not be actually aesthetically pleasing. A commission is as much your work as it is theirs and your input and inspiration is essentially what they are paying you for. With clients like these it is important to inform them of issues you have with the design in the very early stages. Supplement the issues with fixes; bring many sketches to the table that offer solutions in your trademark style while still remaining true to their basic vision. What they want may not be any good and it is your job to use your psychic art powers to show them an alternative that strikes the same pleasing chords to them.</span> <span style="font-size: small;"><br /><br /> When dealing with a client who seems to not have an opinion, you may have to spend extra time with them. Present more sketches in a variety more diverse than you would usually. Once they settle on a sketch be sure they understand that backtracking will take time and money. Check in every once in a while with a progress report that details the project so far. Use your artistic intuition to determine how to proceed. Over time, your conceptual thinking will become more refined and you will be able to latch onto fresh concepts quickly, but until then I recommend a thorough Skype interrogation! </span> <span style="font-size: small;"><br /><br /><br /><b>Know the Value of Your Time. </b></span> <span style="font-size: small;"><br /><br /> How long will it take you to do a professional level black and white sketch? <br /><br /> What about a full color illustration? <br /><br /> Does style and subject matter factor into the amount of time it will take? <br /><br /> Figuring these things out ahead of time will save you all-nighters of despair as you will be able to accurately give the customer an estimated time of arrival as well as an accurate bill. Does this mean the quicker you work, the less you'll have to charge? Not in my view of it. If anything your rates will raise as the continual work will drive your skill level up...you'll just have more free time to attain more commissions! <br /> </span><br />
<span style="font-size: small;">What have you learned the hard way through your professional art pursuits? </span> <span style="font-size: small;"><br /><br />Please feel free to leave a comment!<br /><br /><br /><br /><i>Links of the Week:</i></span> <br />
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<span style="font-family: Times New Roman,serif; font-size: small;"><a href="http://www.urbanartcore.eu/reverse-graffiti-top-artists/">Artists Clean up the Streets with Graffiti </a></span></div>
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<span style="font-family: Times New Roman,serif; font-size: small;"><a href="http://www.carlkingdom.com/10-myths-about-introverts">10 Myths About Introverts</a></span></div>
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<span style="font-family: Times New Roman,serif; font-size: small;"><a href="http://theartorder.com/2011/12/07/self-promotion-tip-27/">How to Network (From the Art Director of Dungeons and Dragons)</a></span></div>
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<span style="font-family: Times New Roman,serif; font-size: small;"><a href="http://marianlibrarian.com/2011/12/an-open-letter-to-writers-on-the-internet/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+marianlibrarian+%28Marian+Schembari%29">Hilarious Rant on Writers Online</a></span></div>
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<span style="font-family: Times New Roman,serif; font-size: small;"><a href="http://paulocoelhoblog.com/2011/02/20/our-dream/">3 Symptoms that You Are Killing Your Dreams</a></span></div>
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<span style="font-size: small;"><a href="http://www.blogger.com/goog_996567952">Help on Constructing an Effective Portfolio</a></span><span style="font-family: Times New Roman,serif; font-size: small;"><a href="http://escapefromillustrationisland.com/2009/11/05/escapee-speaks-7-elements-of-an-effective-online-portfolio/"> </a></span></div>
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<span style="font-size: small;"><a href="http://www.jessicahische.is/obsessedwiththeinternet/category/andhelpingyougetpaid">Jessica Hische with tips on Illustration on<i> Escape From Illustration Island</i></a></span></div>
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<span style="font-size: small;"><a href="http://escapefromillustrationisland.com/2010/08/31/efii-podcast-episode-49-jessica-hische/">^Her Personal Blog^ </a></span><i></i></div>
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<i>Inspiration:</i></div>
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<a href="http://pan.gramme.ch/fr/folio/illustration" rel="nofollow" target="_blank"><span class="yshortcuts" id="lw_1323299933_0">http://pan.gramme.ch/fr/folio/illustration</span></a></div>
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<span class="yshortcuts" id="lw_1323299933_0"><br /></span></div>
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<a href="http://www.varoomlab.com/" rel="nofollow" target="_blank"><span class="yshortcuts" id="lw_1323299933_1">http://www.varoomlab.com/</span></a></div>
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<i></i></div>Josh Evans - Digital Artisthttp://www.blogger.com/profile/16664982954187021791noreply@blogger.com2tag:blogger.com,1999:blog-8832224870045981393.post-54062038830003639242011-11-30T17:50:00.001-08:002012-01-18T18:01:46.905-08:00Loris Interviews Tim Tomkinson<br />
This is Bridget, and I have a lot of things to fill you in on!<br />
For example, I just got a copy of <i>The Graphic Artist's Guild's Handbook of Pricing and Ethical Guidelines</i>, which is like a sacred text for commercial artists. I will be taking notes for anyone who does not have this book or has any questions concerning business aspects of illustration that can be found in it. Josh is currently compiling a list of notes from <i>Creative Inc.</i> an excellent business guide for artists. Links to both books are listed at the bottom of the post, so be sure to check that out! <br />
There are a few important Illustration and Graphic Design competitions with deadlines coming up, so be sure to check those out at the bottom of the post.<br />
Finally, we have an exclusive interview with award-winning illustrator <b>Tim Tomkinson</b> about current trends in the illustration field! <br />
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Tomkinson has been illustrating for ten years and has been featured in multiple issues of each <i>American Illustration</i>, <i>3x3</i>, and <i>Communication Arts</i>. He has also been featured in <i>Graphis</i>, <i>HOW Design</i>, <i>200 Best Illustrators Vol 2</i>, <i>The Big Book of Illustration Ideas </i>(Harper Design International 2004). He has also worked with <i>The Rolling Stone</i>, <i>LA Times</i>, <i>Nike</i>, and <i>Starbucks</i> among many others. <br />
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More information on Tim Tomkinson can be found at: <a href="http://timtomkinson.com/" style="color: #e06666;">http://timtomkinson.com</a><br />
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<b>LA!</b>: How did you put together your portfolio and did you select your work based on the markets, subject matter or style?</div>
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<b>Tomkinson</b>: My portfolio has been a work in progress for 10 years. I tend to take out older pieces, and work that I feel has gotten stale, or just plain bores me The type of work I select to include in portfolio sort of depends on the type of portfolio it is. I have printed portfolios that my agents take around to AD's, and those tend to show a good range of my more polished work since they get taken to Advertising and Design agencies, and Magazines. I have a separate portfolio that is solely sketchbook work that accompanies the commercial stuff, to show a bit more of my looser, edgier style. And my website and several other portfolio sites show a mix of all of my different stuff. I try not to limit myself too much in terms of the style and subject matter, since every job is different and I like using different ways to problem-solve<br />
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<b>LA!</b>: Describe your process from getting contracted by a client to finishing a project.</div>
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<b>Tomkinson</b>: Well, I usually get an email or a call from an art director, or from my agent if the AD when directly to them. My agent handles the negotiation (when applicable) and all required contracts and invoicing. Once the fees are decided on a job, I get working on sketches after I have a call with the Art Director. Like I said, every job is different, so I do anywhere from 1 to 3 (or more) sketches and then sometimes a round of revisions if it's not right. Once we get the sketch approved I go ahead with the final. Most of the time these days my finals consist of one or more b/w drawings that I usually do with a felt-tip pen or pencil, then I scan them in and piece together, tweak, colorize, and apply texture where needed. Once in a while I still complete a full final all by hand (including color), but I'd say about 90% of my work now is colorized and completed in photoshop after scanning the b/w drawing It saves me a huge amount of time (i can do more assignments!) and I just get so much more freedom that way. <br />
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<b>LA!</b>: what do you think are the best tools for promoting yourself as an illustrator? Are book portfolios still in demand?</div>
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<b>Tomkinson</b>: Like I mentioned, I do still have book portfolios. My agents are also bringing around iPads with the artists' digital portfolios on them. But they can't really leave those behind or send them out to companies, so they still have the traditional portfolios. The most important tools though, are the websites.. both mine and my agent's, as well as the other portfolio sites out there (Altpick, iSpot, DripBook, etc.). I'd say my own website is certainly the most important promotional tool. Illustrators have to have them these days, or they essentially don't exist. I also keep a blog as my news, update, and process outlet.. updating it as often as I can (but not as often as I'd like). Promotional mailers are still very important. If you have discipline, sending out a mailer 3-4 times per year is optimal, and doing something more interesting than a postcard is ideal.. though certainly more expensive. Also, submitting entries to the illustration annuals are a must. It can get a bit expensive and time consuming, but is so very worth it when you get into them.<br />
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<b>LA!</b>: What is the most difficult part of being an illustrator and what is most rewarding?</div>
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<b>Tomkinson</b>: Being an illustrator means being your own boss. I'd say that's probably the most difficult AND the most rewarding thing. You're still doing work for clients, but you don't have a boss keeping you focused and in line all the time. It really requires a good amount of discipline to stay inspired, on-schedule, and professional. Not having a 9-5 job means lots of freedom in your schedule, but also often leads to taking on much more work than a normal job requires. While that ultimately means making more money.. it also means less free time and the potential to get burned out. You need to remember to say NO once in a while to jobs, even if they sound great. <br />
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Another difficult thing is dealing with the clients that ultimately lead the job into an unfortunate place. I've done plenty of jobs that will never make it onto my website or any portfolio. But those are a low percentage of my work, thankfully. The other ones provide a huge amount of satisfaction, especially when you can pick up a magazine, or a t-shirt, or a book...and see the manifestation of your creativity on display for all to see. <br />
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<b>LA!</b>: What advice would you give an illustration student?</div>
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<b>Tomkinson</b>: Perhaps one thing that wasn't stressed enough in school was the importance of having another means of supplementing your income if you plan on becoming an illustrator. Some illustrators rarely have slow periods, and in fact often have to turn jobs away... but the harsh reality is that most will have periods when the work just isn't coming in as quickly as they would like it, or not much at all. When illustration assignments slow down for me, I pick up more design work and try to catch up on updating portfolios, websites, creating promotional pieces, etc. <br />
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Draw as often as you can! Keep sketchbooks and use them whenever you can. The more you draw the more you know what you like to draw, and your style will develop out of that visual language.<br />
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Enter work into illustration annuals! <br />
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Hang out with as many creative people as you can stand - they will inspire you to create. It helps if they are talented and driven. A healthy competition with a classmate is great! And don't get too jealous when you see people getting work around you while you aren't, even if you think their work isn't worthy. Use it to push your work further. <br />
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And above all, find a style that you love to work with.. don't torture yourself with anything less.<br />
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Loris Attacks! thanks Tim Tomkinson for the interview. </div>
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<span style="font-family: 'Times New Roman', serif;"><span style="font-size: small;"><b>Here
are some big competitions that would really be a good idea to submit
to.</b><br /><br /><i>Communication Arts:</i><br /> </span></span><a href="http://www.commarts.com/competitions/illustration.html?utm_source=graphiccompetitions.com&utm_medium=leader&utm_campaign=GraphicComp-Illus2012%20" style="color: #ea9999;"><span style="font-family: 'Times New Roman', serif;"><span style="font-size: small;"><u>http://www.commarts.com/competitions/illustration.html?utm_source=graphiccompetitions.com&utm_medium=leader&utm_campaign=GraphicComp-Illus2012</u></span></span><span style="font-family: 'Times New Roman', serif;"><span style="font-size: small;"> </span></span></a></div>
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<span style="font-family: 'Times New Roman', serif;"><span style="font-size: small;">Deadline: January 6th, 2012<br />“Any illustration first printed or
produced from January 2011 through January 2012 is eligible. Selected
by a nationally representative jury of distinguished designers, art
directors and illustrators, the winning entries will be distributed
worldwide in the Communication Arts Illustration Annual and on
</span></span><a href="http://commarts.com/">commarts.com</a>”-Commarts<span style="color: navy;"><span style="font-family: 'Times New Roman', serif;"><span style="font-size: small;"><u><br /></u></span></span></span></div>
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<span style="font-family: 'Times New Roman', serif;"><span style="font-size: small;"><br /><i>How
Design: </i></span></span>
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<a href="http://blog.howdesign.com/call-for-entries/call-for-entries-your-best-work-design-awards/%20"><span style="font-family: 'Times New Roman', serif;"><span style="font-size: small;">http://blog.howdesign.com/call-for-entries/call-for-entries-your-best-work-design-awards/</span></span><span style="font-family: 'Times New Roman', serif;"><span style="font-size: small;"> </span></span></a></div>
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<span style="font-family: 'Times New Roman', serif;"><span style="font-size: small;">Deadline:
December 1st, 2011<br />For Graphic Designers, enter five of your best
works in the last two years, for a chance to have them published in
How Design magazine's 2012 Creativity issue.</span></span></div>
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<span style="font-family: 'Times New Roman', serif;"><span style="font-size: small;"><b>Links
of the Week!</b><br />Resources and tips:</span></span></div>
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<span style="font-family: 'Times New Roman', serif;"><span style="font-size: small;"><br />Free
reference photos for artists at </span></span><a href="http://www.blogger.com/goog_1173817683"> </a><a href="http://morguefile.com/">http://morguefile.com/</a><span style="font-family: 'Times New Roman', serif;"><span style="font-size: small;"><br />Free
Fonts at </span></span><a href="http://www.fontspace.com/">http://www.fontspace.com/</a><span style="font-family: 'Times New Roman', serif;"><span style="font-size: small;"><br />Fifty
tips for self promotion
at </span></span><a href="http://www.redlemonclub.com/50-fresh-promotion-tips/">http://www.redlemonclub.com/50-fresh-promotion-tips/</a><span style="font-family: 'Times New Roman', serif;"><span style="font-size: small;"><br />Blog,
forum, tutorials, inspiration and resources for
freelancers</span></span><span style="color: navy;"><span style="font-family: 'Times New Roman', serif;"><span style="font-size: small;"> <a href="http://freelancefolder.com/" style="color: #e06666;">http://FreelanceFolder.com/</a></span></span></span><span style="font-family: 'Times New Roman', serif;"><span style="font-size: small;"><br />Free
textures for digital artists </span></span><a href="http://www.cgtextures.com/">http://www.cgtextures.com/</a><span style="font-family: 'Times New Roman', serif;"><span style="font-size: small;"><br />Submit
art to the Society of Children's book Writers and
Illustrators<span style="color: navy;"> </span></span></span><br />
<a href="http://www.scbwi.org/For-Illustrators.aspx">http://www.scbwi.org/For-Illustrators.aspx</a><span style="font-family: 'Times New Roman', serif;"><span style="font-size: small;"><br style="color: #ea9999;" /><br />Inspiration:</span></span><br />
<a href="http://sumiinkclub.com/"><span style="color: navy;"><span style="font-family: 'Times New Roman', serif;"><span style="font-size: small;">http://sumiinkclub.com/</span></span></span></a><span style="font-family: 'Times New Roman', serif;"><span style="font-size: small;"><br /></span></span><a href="http://characterdesign.blogspot.com/"><span style="color: navy;"><span style="font-family: 'Times New Roman', serif;"><span style="font-size: small;">http://characterdesign.blogspot.com/</span></span></span></a><span style="font-family: 'Times New Roman', serif;"><span style="font-size: small;"><br /></span></span></div>
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<br /></div>Josh Evans - Digital Artisthttp://www.blogger.com/profile/16664982954187021791noreply@blogger.com0tag:blogger.com,1999:blog-8832224870045981393.post-41814071049604821622011-11-22T15:55:00.001-08:002011-11-23T18:02:24.844-08:00Reaching The Umbrella<div style="text-align: center;">
Statement of Purpose and Links Galore.</div>
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As several art students for whom
graduation is looming, we are equal parts apprehensive and excited
about the prospect of turning our passions into a career. There are
many negative stereotypes involving the business end of the arts,
most of them involving starvation, poverty, or waiting tables. This
blog will be a weekly dose of encouragement for our readers as we
plunge headfirst into our respective creative fields.</div>
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What can you expect from the Art
Loris?
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<li>Interviews from professional artists and art directors, blazing a trail of your own often requires a knowledge of how others have attempted such a feat. <br /> </li>
<li>Professional and Student Artist spotlights. We'll showcase their work that has inspired us greatly as well as a brief bio of them as a person. If you have any artists that you would like to see featured, please comment on this blog with their name and website! <br /> </li>
<li>Basic tutorials on everything from Digital Painting to CG Packages to Oil Painting, nothing is out of bounds as far as technique is concerned. <br /> </li>
<li>Expect many links that expand upon each post. If we find a wonderful site that goes into more depth than we have time for or offers fantastic resources in an applicable area, be sure that we'll share the wealth.</li>
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Art Loris is primarily about growth
and creative maturation. Not many people can instantly phase into
the career of their dreams but, with a little inspiration and a lot
of slow, methodical work, we can all eventually have our dreams
within grasp.</div>
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Josh's Links:</div>
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<span style="color: navy;"><span lang="zxx"><u><a href="http://www.ctrlpaint.com/">http://www.ctrlpaint.com/</a></u></span></span></div>
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Probably the best free tutorials for
Digital Painting (and some fine art here and there) that I have
yet come across. Just going through these videos can severely
increase your Photoshop paint-related expertise.</div>
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<span style="color: navy;"><span lang="zxx"><u><a href="http://conceptart.org/">http://conceptart.org/</a></u></span></span></div>
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<span style="color: navy;"><span lang="zxx"><u><a href="http://cghub.com/">http://cghub.com/</a></u></span></span></div>
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<span style="color: navy;"><span lang="zxx"><u><a href="http://idrawgirls.com/">http://idrawgirls.com/</a></u></span></span></div>
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The closest thing you can get to a
daily shotgun-to-the-face of inspiration! Updated by the minute,
these sites are an endless stream of professional awesome!! I use
these sites daily to see what other artists in my field are up to,
these are sort of the grown-up versions of DeviantArt.
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<span style="color: navy;"><span lang="zxx"><u><a href="http://creativeheads.net/">http://creativeheads.net</a></u></span></span></div>
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A free e-mail service that alerts you
when jobs open up in your chosen field. Excellent quality and no
spam whatsoever!</div>
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<a href="http://www.blogger.com/goog_917525376"><br /></a></div>
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<a href="http://www.youtube.com/watch?v=w89bFK3PvBA"><span style="color: navy;"><span lang="zxx"><u>http://www.youtube.com/watch?v=w89bFK3PvBA</u></span></span></a></div>
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Just in case all the Loris vs.
Umbrella references are not making much sense.</div>
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Bridget's Links:</div>
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<span style="font-family: Times New Roman,serif;"> As
it may soon be obvious, many of my links will be illustration
oriented as this is my major and intended career field. </span>
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<span style="color: navy;"><span lang="zxx"><u><span style="font-family: Times New Roman,serif;"> <a href="http://www.howdesign.com/">http://www.howdesign.com/</a></span></u></span></span></div>
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<span style="font-family: Times New Roman,serif;"> The
website for a graphic design magazine, helpful for not only updates
on current trends used by possible clients, but spotlights on the
best graphic designs and what they were created for. It also has
fantastic resources on living and surviving as a freelancing
creative. Food for hours of exploration.</span></div>
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<span style="color: navy;"><span lang="zxx"><u><span style="font-family: Times New Roman,serif;"> <a href="http://escapefromillustrationisland.com/">http://escapefromillustrationisland.com/</a></span></u></span></span></div>
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<span style="font-family: Times New Roman,serif;"> A
mecca of resource articles, tutorials, and links for illustration,
this website also provides podcasts where they interview famous
illustrators. Be warned, this website will steal all of your free
time.</span></div>
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<span style="color: navy;"><span lang="zxx"><u><span style="font-family: Times New Roman,serif;"> <a href="http://zero2illo.com/">http://zero2illo.com/</a></span></u></span></span></div>
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<span style="font-family: Times New Roman,serif;"> A
great blog concerning the business side of illustration.</span></div>
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<span style="color: navy;"><span lang="zxx"><u><span style="font-family: Times New Roman,serif;"> <a href="http://www.redlemonclub.com/">http://www.redlemonclub.com/</a></span></u></span></span></div>
<div style="margin-bottom: 0in;">
<span style="font-family: Times New Roman,serif;"> Ideas
to improve your freelancing and creative potential, including “Juicy
Motivation” ideas of the moment.</span></div>
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<span style="color: navy;"><span lang="zxx"><u><span style="font-family: Times New Roman,serif;"> <a href="http://www.toolsartistsuse.com/">http://www.toolsartistsuse.com/</a></span></u></span></span><span style="font-family: Times New Roman,serif;">
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<span style="font-family: Times New Roman,serif;"> This
website lies somewhere in between inspiration and resources. Its nice
to see the materials used by great artists, and what materials
render specific looks.</span></div>
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<span style="font-family: Times New Roman,serif;">Inspiration:</span></div>
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<span style="color: navy;"><span lang="zxx"><u><span style="font-family: Times New Roman,serif;"> <a href="http://www.signatureillustration.org/">www.signatureillustration.org</a></span></u></span></span></div>
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<span style="color: navy;"><span lang="zxx"><u><span style="font-family: Times New Roman,serif;"> <a href="http://www.todaysinspiration.blogspot.com/">http://www.todaysinspiration.blogspot.com/</a></span></u></span></span></div>
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<span style="color: navy;"><span lang="zxx"><u><span style="font-family: Times New Roman,serif;"> <a href="http://howtobearetronaut.com/">http://howtobearetronaut.com/</a></span></u></span></span></div>
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<span style="color: navy;"><span lang="zxx"><u><span style="font-family: Times New Roman,serif;"> <a href="http://apeonthemoon.com/">http://apeonthemoon.com/</a></span></u></span></span></div>
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<span style="color: navy;"><span lang="zxx"><u><span style="font-family: Times New Roman,serif;"> <a href="http://www.lostateminor.com/">http://www.lostateminor.com/</a></span></u></span></span></div>
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<span style="color: navy;"><span lang="zxx"><u><span style="font-family: Times New Roman,serif;"> <a href="http://www.fecalface.com/">http://www.fecalface.com/</a></span></u></span></span></div>
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<span style="color: navy;"><span lang="zxx"><u><span style="font-family: Times New Roman,serif;"> <a href="http://www.fuelyourillustration.com/">http://www.fuelyourillustration.com/</a></span></u></span></span></div>Josh Evans - Digital Artisthttp://www.blogger.com/profile/16664982954187021791noreply@blogger.com0