Grandma Dolores: Well, David. Would you like some cold cereal?

Grandma Kernik: I don't understand. How is that a school on your computer? You kids.

Me: It's an online school, Grandma. You don't even have to leave the house.

Grandma Kernik: Well, I wouldn't go out in this old thing anyway.

School's in for Summer

If you can't tell from my typing, I'm waiting for video to compress and upload. Even as I enter the home stretch on the Sparky Firepants Digital Illustration School launch and still intensely fascinated by how awesome it's turning out to be, I've got more fantastic ideas ready to hit the page. As soon as I wrap up the launch, I'll be moving right into more very exciting and cool things.

Before I go into that, I need to let you know about a special offer on Digital Illustration School. It would be very wrong of me to not let you in on this, since you were nice enough to hang out here today.

The first course in the school will be ready for download on Tuesday, June 2. For the first week that it's online, I'm having a Grand Opening Special. The rate for the Vector Course Value Pack will be reduced (ok, slashed) for a whole week.

Two things you need to know to take advantage of this:

1. I'm going to send out a discount code via e-mail. If you want to get the code, you need to sign up on the site before June 2nd.
2. The sale ends at midnight on June 9th. After that, the price almost doubles.
3. This is just for the Vector Course Value Pack. The other stuff is priced so cheap I'm almost giving it away as it is.

To recap, that means that for the first week, the price on the Vector Course Value Pack is $175. After June 9th, it goes up to $295 and stays there. Forever.

I don't know about you, but even as a "creative type" with my limited math skills, that sounds like quite a deal.

If the course isn't your thing, it's cool. Maybe you know someone it would be perfect for, in which case you would be an amazing friend if you told that someone about this killer deal. Also in which case you could potentially earn some cash, since I'll pay a whopping 25% commission if your someone purchases anything on the site. I'm going to set up an affiliate program soon but for now I feel really happy about offering you $43.75 just for helping an artist learn some mad new digital skills.

So before you forget, go sign up now.

How to Get and Keep Illustration and Design Jobs

The next exciting thing being hatched by my madly manic brain is a series of blog posts that will tell you how to get work as an artist.

I was thinking about how I've been getting art-type gigs for a really long time now. I was also thinking about how I used to hire people for art gigs. So with all this golden knowledge collecting dust in my noggin, it's borderline criminal to not share all the inside information.

So I'm kicking off a series of blog posts that tell you how to get work as an artist. I'll tell you everything. What to say (and not to say) in an art job interview, how to deal with the monotony of production work, and even deep, dark secrets about portfolio reviews that will probably make you angry... but at least you'll know how it all works.

What about working at a design McJob while you pine away for that glorious freelance illustration career? Yep, I'll clue you in on that stuff, too. I've done it. You can do it. There are just a few things you need to know that your boss isn't going to tell you.

What about freelance gigs? How to get them, where to get... and where NOT to get them.

Right here, on the blog, read it when you need it.

Did you know there are hidden rewards in a freelance art career? Rewards that take you farther than the ability to buy tonight's keg, that is. If you're new to freelancing as an artist, you need to hear this. I wish they taught this stuff in art schools. It's about sustaining your career in the long term. It's about building something more than a permanent "side" business. It's about truly going out on your own and feeling awesome about it. Read on!

The Perspective

As a freelancer, I do my share of one-off projects. There's that package design illustration for a kid's snack container. There were the custom avatars, a few icons, a web site header. They're nice, these one-offs. I enjoy them (because why else would I fire up my computer every day), but the projects I do my best work on are the ones that require lots of chatting, e-mails, and idea-tossing. Those are the ones that blossom into an ongoing, mutually beneficial relationship.

Womb to Bloom is one of those relationships. 

The Womb to Bloom web site is an online community and resource for new moms and moms-to-be, "Maternity and Beyond." Awesome concept, amazing potential for growth.

The Client

The Womb to Bloom founders (Greg and Heather Zellers) and I reached each other through a gig-type site about some animation work they needed done. It's no secret that I love to talk with people about their projects. First, it's just fun (I geek out on web and TV development). Second, it helps me frame my portion of their project with a reference that controls the budget. It's also easier to offer new ideas without going off on crazy tangents.

So when they called, we talked a lot about what the animation could be. It also happened that they needed some simple illustrations and icons that would tie everything together. This is where I started drooling on my phone because I loved the site concept, they had a great logo already, and the web development was already flowing.

The Concepts

The initial concept was to have a central "mom" character to base everything on. Once we nailed down that character design, the icons and other illustrations would flow. I was already loving this project because it made sense before I even got out my pencils. It was also very easy for me to create a project plan that worked with their budget. 

Although we had some great early chats about concepts, I have to admit that the initial brainstorm sketches I created were a little... off. The style of my first sketch was just somewhere between Family Guy and Rugrats. But this is the part that makes my job awesome, because we were able to use those sketches as a jumping-off point and keep the conversation going.

So we chatted in greater detail about Greg and Heather's ideas. What they wanted was an attractive, hip, and fairly trendy woman who could transition easily from pre-pregnancy to new mom. The next sketches were right on target and ready for vector illustration and color. Below is a final concept image:

Incidentally, I created all the final art for this project in Adobe Illustrator CS3. In the very near future I'll be providing step-by-step instruction on how to create this kind of work, so graphic designers, web designers, and traditional artists can reap the benefits of my experience. Yay!

A few things made it easier to create the final art for this project. They already had a logo, so I had specific colors to choose from. Greg and Heather really knew what they wanted to see. They couldn't always sketch out an example or articulate a style, but once I gave them a sketch to go on we had a basis for conversation. They knew their demographic, which translated very well to visual goals. 

The Work

I know, I know. You want to see sketches. I hear ya. Here's a great, simple example of how an illustration concept developed. One of the sections on the web site is for contributors. We started out with the idea of a smart-looking woman (new character) in a cafe with a laptop. I sketched it out and hit the mark, woo-hoo! However, we did decide to go with the main character after all, and you can peek at the results:

As an even better demonstration of how a project can progress and a great relationship can generate even more fun ideas, take a look at what we finally used for that section of the site. I think it worked out nicely.

Another favorite illustration of mine from the project is the community section. The whole idea was to get moms together from all over the country and have them chat online, as if they were in someone's living room. Pretty cool, right? I knew I had to thinkify something unique and fun, but also instantly communicate that idea. My first sketch:

The question became, how do I divide this cozy little scene into sections that show that cozy closeness and distance at the same time? It turned out not to be so difficult with a little sleep and some coffee. After seeing the final art, they added a new wrinkle; let's see an image of the U.S. behind them to really hit home the idea. Not one to shy away from a challenge, I came up with a funtastic solution. You can see the progression. I still like both. Good thing I didn't have to decide.

State of the Iconomy

The web site also needed some icons. About a hundred of them, in fact. I loved that I was able to work on this part of the project because I could take everything we had developed in the illustrations and use it to create the icon concepts. It worked out beautifully because we already had a flow going and could reference previous conversations. It turned out to be a lot of work, but also a ton of fun. You can see the icons all over the site, but here's a sample page of a few I really like:

Wrap it Up

This is the best part. We haven't wrapped it up. The working together part, that is. After getting to know the Zellers through working with them, we've shared information, links, and even referred business to each other. It's the ideal b2b relationship, where we mutually benefit beyond the exchange of service and money.

The truth is, I did find this client through a bid-type freelance gig site. I don't love these sites because typically you're bidding on projects in a vacuum. My whole method of working revolves around many conversations and lots of information exchange, which the bid sites make very difficult.

The thing that I took away from this is that bid sites can yield some good projects, but you have to be prepared to build a relationship beyond the one-off. If I see a project posted and I don't feel that's possible, then I move on. It's just not my cup of chai.

If you're new to freelancing, I can't stress enough that long term relationship-centered business is one of the major keys to your success. You can work on a hundred one-off projects through a crowdsourcing site and make a little cash. That's great. You can throw your artwork up on a stock site and make a few dollars for every download. Awesome.

Those activities will not sustain you for very long because you only come away with cash. I say "Big deal, Dude." Anyone can make some quick cash these days. Create a free blog and stick a PayPal Donate button on it.

Remember that rewards thing, kids. If you want to keep the art thing going and get Mom and Dad off your back, listen to your Uncle Sparky.

Sorry, I was just grabbin' up a quick snack. I needed an awesome web site header and just couldn't get out of the office. This one looks okay. And, it was cheap.

I recently read something about "crowdsourcing." It's where a business throws out a project to a mass audience and reviews the results, paying for the one that strikes their fancy.

So in one of these scenarios, a company who needs a logo but has a very tiny budget goes to a web site, describes their project, and names their price. Soon, oodles of options start pouring in (one site says the average is 68). The company can even ask for revisions before choosing a final design.

I looked at some of the sites. The rates are pretty good and there are some great designs happening. Everyone should be happy, right?

Think about this. On both sides of the coin, something is missing, folks.

It's called a relationship.

Creative businesses are fun! But, like any other business, creative businesses still require a lot of hard work. Most of us start a business because we’ve found something we are good at and passionate about, and we want to make a living doing what we love – for example, turning a favorite hobby into a business. Unfortunately, we often forget that there’s more to running a business than just doing the stuff we love.
 
It’s easy to get wrapped up in the creative side of what we do and neglect the business side. If you want to make money and move from “hobbyist” to “entrepreneur,” here are some tips to help you make the transition.
 
1.      Take yourself and your business seriously
 
Carry professional business cards, and not the free ones that have a generic template and advertising on the back. Put up your own website, even if you’re using a third-party seller. Get over the discomfort of approaching retail shops, galleries, media outlets and other professionals who can help you grow your business. 
 
When people ask you what you do, tell them! “I’m an artist.” “I’m a handbag designer.” “I’m a writer.” Don’t shy away or show embarrassment just because you might be struggling, or don’t yet feel “successful,” or still have a part-time job. Hold your head high and be proud of your creations! When someone admires your necklace say, “Thank you, I’m a jewelry artist.”
 
2.      Charge what you’re worth
 
If you keep your prices low from fear that no one will actually pay what your work is worth, you might as well stay a hobbyist. You have to take into account your materials, your labor, your overhead, your health insurance (you want health insurance, right?), vacations, family needs, retirement funding, and your general lifestyle. How much money do you want and need to make to have the kind of life you dream about?
 
You undermine the value of your work when you price according to fear and discomfort rather than looking at your own needs and what the market will bear. You also, by the way, undermine other creative entrepreneurs. Your customer then expects that every other soap maker, graphic designer and illustrator should offer their wares for the same low prices you do. So you hurt yourself by not bringing in as much money as you should, and you hurt the industry as well.
 
3.      Learn all the aspects of your business, even the parts that aren’t as fun
 
As I mentioned above, most of us start a business out of passion and excitement for what we do. And it’s infinitely more fun to play with paint, experiment with designs, shop for materials, mix flavors and visit galleries than it is to pay invoices, maintain your website, and send out press releases.
 
I’m not saying that you have to do all of those things yourself. You can outsource any administrative task, hiring contract workers or a virtual assistant for example. Have a bookkeeper do your books, a web designer update your site, a rep sell your products.
 
However, knowing the basics of how your business works will protect you from quacks, scammers and other shady or unprofessional types. Also, if you’re without help for a period of time, it’s great to know how to add photos to your website, place a magazine ad or balance your books.
 
Being an entrepreneur can be frustrating, exhausting and gut-wrenching. It can also be exhilarating, rewarding and an amazing learning experience. Take pride in your work, take pride in all of your successes, and be willing to learn and grow. See yourself as a businessperson as well as a creative soul, and your business will flourish.

Lisa Braithwaite is a public speaking coach working with individuals and groups to build their skills and confidence as speakers. Her philosophy of public speaking is that it's fun, it's an awesome way to express yourself creatively, and that authenticity and passion are worth more than a thousand techniques. 
 
Before launching her public speaking coaching business in 2005, she worked in the nonprofit sector in Santa Barbara for 16 years as an advocate, educator and trainer, creating and implementing programs, curricula, and training materials for nonprofit organizations. Her areas of expertise in the field of training and education have involved gender equity, domestic violence prevention, media literacy, adult learning principles, and communication skills development
 
In 1997, she co-founded Body Electric, an organization promoting sports, physical activity and gender equity for women and girls. In 2003, Lisa was honored for her work with Body Electric with the Louise Lowry Davis award, named for a pioneer in women’s sports. 

A lifelong jewelry artist, Lisa was the creative force and the "LB" behind Elle B. jewelry from 2004-2007, when she made the difficult decision to close up shop to focus on her coaching business.

Lisa received her B.A. in Theater from Pomona College and her M.A. in Education from UC Santa Barbara.

Website: http://www.coachlisab.com
Speak Schmeak blog: http://coachlisab.blogspot.com

Over the past year I've moved into the tighter, cozier space that is my niche market: children's educational publishing. It's nice and uncluttered in here. I can breathe a little better. My posts here have followed suit, focusing on children's book publishing and creating educational media for the little nippers.

Anyone who knows me vaguely well understands that I am all about art being a business. That is, art that you intend to make a living from. There are some who long to live simultaneously in dual worlds; Van Gogh's and Bill Gates's. Hope and luck do not make an art career (or an economy). Hard work and business acumen can.

My life drawing teacher at the American Academy of Art used to gesture across Michigan Avenue to the Fine Art school and, in his crackly Lithuanian accent, tell abstract students to join their friends. He was teaching us how to make a living with objective art rather than starve with subjective doodles.

Nothing wrong with Fine Art or Abstract art. I enjoy it immensely. It's just a chancy way of making rent.

I got carried away for a moment, forgive me. Back to the present!

I've been a longtime fan of Home Office Warrior, an excellent blog for, well, people who work from home. Even as one of those "artist types" I found an environment that's all about making money from doing what you love in your own home office. It ain't easy. At least there are others willing to share their wisdom and experience.

I was recently asked to be a regular contributor to HOW. It took me all of 30 seconds to consider before committing to a weekly post for the online magazine. I'm really excited about this and honored to be among some very smart people.

I urge you to check it out and add it to your feed subscriptions. There's so much knowledge there, it's crazy to pass it up.

So of course I'll still be writing here regularly, but I can focus on publishing and children's media here and write about freelance business issues on HOW.

It's a great opportunity and I'm honored to accept the challenge.

Thanks again for reading and I hope to inspire some great conversations in both places.

I responded to a post on Freelance Switch yesterday about this and it prompted me to expand on the discussion.

In the past year I've used one of the bid sites regularly to find "gigs." It was that twitchy, fear-based part of me that wondered if I was missing out on a steady flow of clients. It sounds simple enough. As someone looking for work, you pay them to bid on projects that "clients" post. If the "client" accepts your bid, then congratulations to you, the lucky winner. You get to sing "I've Got the Golden Ticket" all afternoon.

I got three gigs this year from one of those sites. In fact, one of my best clients is someone I found through a project posted on a bid site. After that first project, we've worked exclusively outside the bid site realm.

That is an extremely low number of projects won when you consider that I viewed over 2,000 and bid on less than a quarter of them.

The thing is, I was looking for the top projects, posted by people who were paying what was close to my rate. I was very selective, which resulted in plenty of sifting and researching. Admittedly not the best way to approach the bid site freelancing model.

Is the bid site model for you? Maybe. Here's how to tell:

1. You have time (or help) to sort through glittering gems like these:

"Need 1,000 icons for huge global brand web site. I want them by Monday. Don't bid unless you can do it for under $250. Great for student or someone who needs work for their portfolio."

2. You need some quick cash. The thing is, most people posting on these sites are looking for the cheapest and quickest they can get. If you're in famine mode, it's possible to get some quick projects going if you're willing to work for bargain-basement rates.

3. You don't mind stepping outside your niche. Hey, if I had to, I could tweak someone's PowerPoint presentation in a jiffy. If I don't have any work in children's publishing, why not use a skill I already have?

Stuff to Watch Out For

If you're going to do it, just be careful out there. A few things to keep an eye on:

1. Fees. Make sure you account for the bid site's fees when bidding an amount. It can take a big chunk out of what's already a small source of revenue.

2. Submitting spec work. People can be sneaky. Unless you've got the green light (a signed proposal), don't send sketches or concepts. They can take your stuff and use it without paying you. Sound like fun?

3. Portfolio crap. If you accumulate enough quick & cheap work, don't expect to have a lot of samples for your portfolio. At some point, you need to step off the treadmill and create something that's not quick and cheap.

You can probably guess that I don't use the bid sites much anymore. I get curious and I look at project listings now and then, but thankfully I haven't had to rely on it exclusively.

One of the things that's turned me off is the prospect of bidding on projects for people I've never even spoken to. A large part of my work is consulting with my clients, so blind bidding doesn't fit my business model. I like to work with real people I can actually talk to and make a connection with. That doesn't happen often on the bid sites, so it's not my favorite.

To sum up, finding work on bid sites can be a good way to prime the pump and generate some extra income. Just don't make it your prime model if you want to work on high-end projects.

Besides reading my blog, of course. Please continue to do so; I promise I'll be brief today.

Maybe you were doing some online shopping. Quite possibly you're feeding a monkey or recaulking a friend's bathtub. Waiting for your file upload. Whatever.

I hope you were doing something.

In an online artist and writer forum I frequent, someone recently posted that they were bored. Interestingly enough, in a different section the same person was agonizing over whether or not they could make a go of freelancing. It seemed that there were many obstacles standing in the way of what would otherwise be an unhindered rise to fame and riches.

The only obstacle I saw was boredom.

I don't mean to get all preachy here. My soapbox is made of balsa wood anyway.

I will put my nethers on a limb here and say that if you're prone to finding yourself bored, then freelancing or entreprenuership is not for you.

If you're waiting around for someone to hand you a project, you may as well learn to play canasta, because you have a long wait.

Only when you work for someone else do you have the luxury of being bored. Hey, the business will be waiting for you on Monday, right? The company has sales people to make sure you've got something to keep you busy next week.

Or maybe not. Are you willing to gamble in a time of layoffs?

The point is that if you think you want to be somewhere you're not, or even want to keep your level of "security" where you are, you have no business being bored.

Somewhere there is a mom who finally got the baby to sleep and is staying up all night to work on her art business. The next morning, she'll be back at Fred Meyer ringing up groceries.

At some point she'll have to quit Fred Meyer because she finds herself in hot demand. Awesome, yes. Accident, no.

How often do you think someone like that says that they're bored? Or lucky?

I know I'll get a lot of flack for this. "It's a normal human condition to be bored sometimes. You're an A-type A-hole."

Hey, I admit I have random moments of idleness and times of procrastination. Human I am and human I recognize.

The difference between those who want to accomplish something very badly and those who simply wish things were different lies in how they handle their idle times.

Think about it while I go patch up my soapbox.

I never knew the untold marketing lessons lying beneath the cheesy exterior of this holiday classic, Rudolph the Red-nosed Reindeer.

Take a listen with me and follow along:

Rudolph the Red-nosed reindeer, had a very shiny nose

Be uniquely you, shiny red nose and all. Are you weird, snarky, or just really like Smurf culture? Be that. Be it on purpose and without apology.

And if you ever saw it, you would even say it glowed

Let people see you. Get out there. Help people see who you are, share your Smurf love.

All of the other reindeer used to laugh and call him names

Oh, yeah, that's gonna happen. Count on it. Actually, embrace it. If some people are beating you down or calling you names, it means you're out there, you're doing it. Bravo!

They never let poor Rudolph join in any reindeer games

Yeah, that'll happen too. S'okay. Just keep lining up to get picked and eventually you'll get in the game. Or, you can find another team. Just don't quit the games altogether, mmkay?

Then one foggy Christmas eve, Santa came to say, "Rudolph with your nose so bright, won't you guide my sleigh tonight?"

Your patience and game-playing will be rewarded. Don't wait for Santa, but know that if you keep doing that other stuff, he'll find you.

Then how the reindeer loved him, and they shouted out with glee, "Rudolph the Red-nosed Reindeer, you'll go down in history!"

Hey, I didn't write the song, okay? I just analyzed it for you. Now when you shop the aisles of your local Safeway, you'll have something new to think about while accompanied by the holiday classics.

I've followed a few conversations lately on Twitter about spec work and working for free.

I can't tell you how many times I hear artists who are trying to break into freelancing ask, "Should I work for free?" They're understandably confused because they see others doing it and there's no shortage of projects asking for free work – in exchange for massive publicity and future fame and fortune, of course.

Unfortunately, I can't answer the question for someone else. No, it's not some lame-ass dodge. I am of the strong opinion that every artist needs to decide this for themselves.

Personally, I don't work for free. Anymore.

Early on I did my share of contests and free gigs just to get myself in the game. What I realized after a very short time was that I was keeping myself very busy with work that wasn't even paying to keep my laptop running. The rent was coming due, I was getting burned out, and the checking account showed only debits. After having a long talk with myself (that was something), I decided to cancel my membership to the pro-bono club.

Karen J. Lloyd is a Storyboard Artist and teacher with a fascinating blog. She addressed this subject as it relates to storyboard artists, but I think that illustrators will find it chock full of stuff they can use.

If you decide that free is for thee, think very carefully about your reasons. If you think about yourself as a business, you'll find it's easier to make those kinds of calls.

###

The other thing that caught my eye was a comment on my holiday card post from Judy Dunn. She was told by a publisher not to submit illustrations with her children's book manuscript. She's paying attention and it's awesome.

This is another question that I get more often than, "Daddy can I watch Gilligan's Island?" Writers ask me if I will illustrate their book and artists ask me if they should illustrate their friend's book.

Nope and nope.

Okay, I'm nicer than that, but that's the stock answer. Here's why:

Reputable publishing houses find their own illustrators for the manuscripts they buy.

Yes, Judy is absolutely right and she's smart to hold off until the right publisher buys her book. Illustrating a picture book by an established professional can cost anywhere between $6,000 - $10,000, on average. It can be more.

Let's say you have disposable cash and want to illustrate your children's book to make it more easily acquirable by a publisher. Here's what's going to happen:

1. You're going to have some interesting artwork to hang on your wall and explain to guests.
2. The publishers you submit to will become annoyed and may not even review your manuscript. In fact, they may even drive to your house and burn it on your doorstep. If that happens, stay inside.

Artists, have you been approached by someone to illustrate their picture book so they can submit it to a publisher? Congratulations! Make some tea and hug yourself for five minutes. Now explain to them what I just told you and ask them if they still want to spend the money.

When I do this, I usually get one of two reactions. The first is indignant anger and outrage at how much I charge for illustrating "just a simple little 58-page picture book." And how I should be lucky to get the offer. It's happened.

The thing is, I love illustrating books for kids. It's what I do! Passing up an opportunity to do what I love sucks. But I can't take someone's money just because they don't know any better.

The second is thanks for taking the time to explain how it works and not just taking their money (and there are people who will take their money).

I prefer the second reaction. The tea goes down easier.

However, I do get requests to illustrate books for very personal reasons, from people who understand the costs involved and just feel strongly about getting their book out into the world. I love it, great idea, let's do it!

See how this relates back to the earlier topic of working for free? As an independent professional, it's extremely important to respect your work, treat yourself as a business, and always be ethical. Some people won't get it, but that's okay. They don't have to look at you every morning in the mirror.

What I don't mean is that creating the art itself is work. That's pretty obvious.

What I mean is, the process of making a living as an artist is work.

It would be great if I could just sit here in front of my Macbook creating cute, funny animals while slurping my coffee without doing anything else.

The truth is, I spend more time on marketing and networking than I do creating art. For me, that's cool because I just love doing that stuff. It's fun, it's a little game I play. It's a bunch of mad scientist experimentation and research and I geek out on it.

What if you don't geek out on that stuff? What if you hate it? What if you just can't get started or know where?

Three things you need:

1. You need me. What else am I doing here? Hit me up! Ask me questions. I've been at the struggling-to-pay-rent-my-portfolio-sucks end and the how-did-I-get-all-these-clients end. Ask me. Whatever. Please.

2. You need to follow these blogs and these people on Twitter. They are experts in getting unstuck and creating a business:

@havi The Fluent Self

@ittybiz Itty Biz

@GrantGriffiths Home Office Warrior

@garyvee Gary Vaynerchuck

3. You need to go get it.

Wow, that's deep, huh? If you're scratching your head or beating your fists on the table, saying, "but it's not that %^&*ing simple!" you are absolutely right. It's just a statement that means nothing on it's own.

What I mean is that you can't put up a cool web site then sit around and wait for the commissions to come in. They won't.

What you've got to do is put yourself out there, call some people, send cards, mail samples, go to conferences in your niche market (if you don't know what that might be, let's talk). You have to work to bring it in. Take some chances, fall on your face a little bit. You have to.

In the coming weeks I'll be expanding in the "Go Get It" idea so it doesn't just sit on my blog like a slimy marketing slogan. I'll show you how to "go get it."

In the meantime, you can always go to step 1 above. I'm here to help. All you have to do is ask.

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