This is Bridget, and I have a lot of things to fill you in on!
For example, I just got a copy of
The Graphic Artist's Guild's Handbook of Pricing and Ethical Guidelines, 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
Creative Inc. 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!
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.
Finally, we have an exclusive interview with award-winning illustrator
Tim Tomkinson about current trends in the illustration field!
Tomkinson has been illustrating for ten years and has been featured in multiple issues of each
American Illustration,
3x3, and
Communication Arts. He has also been featured in
Graphis,
HOW Design,
200 Best Illustrators Vol 2,
The Big Book of Illustration Ideas (Harper Design International 2004). He has also worked with
The Rolling Stone,
LA Times,
Nike, and
Starbucks among many others.
More information on Tim Tomkinson can be found at:
http://timtomkinson.com
LA!: How did you put together your portfolio and did you select your work based on the markets, subject matter or style?
Tomkinson: 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
LA!: Describe your process from getting contracted by a client to finishing a project.
Tomkinson: 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.
LA!: what do you think are the best tools for promoting yourself as an illustrator? Are book portfolios still in demand?
Tomkinson: 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.
LA!: What is the most difficult part of being an illustrator and what is most rewarding?
Tomkinson: 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.
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.
LA!: What advice would you give an illustration student?
Tomkinson: 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.
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.
Enter work into illustration annuals!
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.
And above all, find a style that you love to work with.. don't torture yourself with anything less.
Loris Attacks! thanks Tim Tomkinson for the interview.
Deadline: January 6th, 2012
“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
commarts.com”-Commarts
How
Design:
Deadline:
December 1st, 2011
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.
Links
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