Category: Blog Posts

Portfolio Review: Laurie Thomas

The year draws to a close and I hope all of you had a wonderful holiday season!  To celebrate the end of yet another year here at this journal, I thought it only fitting to end with a beginning!

I’m happy to introduce the first portfolio review in what I hope to be an ongoing series.  This review is for Laurie Thomas, who sent in the following samples of her work:

See more at Laurie’s DeviantART Gallery!

Overall Impression: Laurie mentioned that she was interested in getting into games, licensing graphics for apparel, and possibly designing for movies.  From what I can tell, you’re well on your way to having a stunning portfolio, Laurie! Your colors are bold and your designs rich and detailed.  What it seems you need to do now is come up with a strategy for focusing your subject matter and presenting your portfolios in such a way as to appeal to the industries you’re hoping to enter.  I say ‘portfolios’ plural because each industry is going to expect something different!

When licensing to the apparel industry, you’ll need a large body of consistent work that will also fit well on t-shirts, bags, etc. (at least 24 pieces for presentation, so I’ve read).  Licensing companies like series of images with consistent high quality, so if you can tie together your characters into some appealing ideas (ie. birthstones, zodiac signs, gemstones, elements, etc.), you’ll have some great basic pieces to start yourself out with!  A great way to see if your art will fit on items is to upload them to Zazzle, which pre-renders your art on the item of your choice. It’s a simple way to create licensed art mock ups, which are essential for creating presentations.

You also need to be aware of the trends that sell (ie. fairies, lolita, gothic, cute things, etc.) and that means doing some research! Keep up with other artists in the industry (Anne Stokes, Amy Brown, Jasmine Becket-Griffith, etc.).  Start paying attention to the clothing brands that sell items with art similar to yours and make a note of who those companies are.  I highly stress reading Licensing 101 before you go down the licensing path. Be aware of the dangers and the options for selling your work, as there are many!  Above all, register your copyrights before licensing anything!  The US copyright office allows registration of sets of images, so that may be a cost effective way for you to go.

As for the game industry, I can see your work fitting in very well with many of the social media/networking games tailored for younger audiences with anime inclinations (ie. GaiaOnline, Facebook games, MMOs, etc).  There are also opportunities in interactive novels and manga!  I highly recommend subscribing to magazines like ImagineFX to keep up with the game art industry and scout out jobs. It’s also an excellent place to learn about presentation skills from pros, as well as techniques and shortcuts!  This advice also counts double for movies, which requires a similar skillset to concept/game artists and are also addressed in IFX.  In general, work on presenting characters, accessories, equipment, and environments.  Conceptart.org and CGhub‘s weekly challenges are great places to start building a game design portfolio. They’re also great places to learn from more experienced artists!

Strengths and Weaknesses: You already possess very highly developed technical skills, but I would watch out for making your images too detailed.  Koi for example has a lovely color palette and character, but the intricate designs, patterns, flower bursts, and clothing folds really overwhelm the eye and lead the compositional flow every which way.  A way to balance this might be to downplay the flowers, while simplifying her kimono and other details.

Speaking of those flowers, they seem a bit unfinished in comparison to the rest, which is something you’ll need to consider for your final products. If a final product is meant to be printed larger, areas that aren’t as tightly developed will appear sloppy. However, if your final product is going to be smaller (ie. Card art, small items), there’s no need to put all that detail in, because the smaller resolution will allow it to appear smoother.

Another thing to be aware of is that limiting your style to anime may shove you into a niche box.  If it’s a box you’re comfortable in, than be the best you can be in that niche and you’re bound to get attention!  However, you must also be aware that anime style in general (at least in the States), is stereotyped as being for juveniles.  It may be more difficult to get editorial illustration work with an anime style portfolio, but that is where presenting varied multiple portfolios to varying clients might serve you well.  Also, you may not even want to do any other work, and that is okay too!  It’s just that the more varied an artist you are, the higher chances you’ll be able to round up that next job to feed yourself.

By the same token, you only want to put out work you want to be hired for, else you’ll get stuck doing work you loathe.  It becomes a balancing act between getting good at the niche or adapting to something different and that’s a call every commercial artist has to make.


I hope this portfolio review has given you some food for thought, Laurie.  Best of luck from me to you and I hope to see your name in the headlines soon!  If any of my dear readers here have additional advice for Laurie, please share in comments! I am not the end all, be all and welcome anything useful others might have to add.

Interested in a Portfolio Review of your own?
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Sketch Diary – The Gift Giver Part 3 – Painting

This week has been a haze of coffee and late nights powered by holiday cookies!  The last entry ended with the finished line art, which ended up being revised several times during the course of trying to color the piece.

Luckily, digital pieces are more forgiving than watercolor! I was able to lengthen the fingers of the right hand (on the left), which seemed stubby despite being correct on the model  Sometimes when we convert photo references to line art, something is lost in translation and that is where our creative mind must work with what ‘looks’ right rather than what the photo shows, else you could end up with some very awkward anatomy.  A camera distorts things at times due to perspective and spacing, as well. 

One must also be aware of the fact that the photo reference is not the end all be all!  We must be willing to depart from it to get the most visually pleasing look, otherwise the image could end up a bit stiff!  Some artists will even hide the reference after the basics of the pose are finished, which I find is a good strategy for breaking reliance on reference.

The photo reference compared to the final line art.

The next phase of coloring began with a simple color test laying in flat colors.  I wanted the spirit to be the brightest thing in the image, so everything else was dark and saturated by comparison.  By the end, she ended up with more of a greenish blue shadow to help get the idea across that the green of the background was reflecting in her skin, despite her glow.  The starker shadow also helps her to feel more solid and rounded, despite her ghostliness, and accentuates her glow.

From this…to this:

 

…to this!
 
You can also view an animated time lapse of the video here:
 
All in all, I feel I’ve definitely hit a milestone with this fully digital piece!  Learning the ins and outs of Adjustment Layers and Layer Masks has really helped to open new doors for me and make my life easier.  With masks, I can save my original image without having to start over, should colors not look right. The Cintiq has also made coloring digitally feel 200% more natural than my old Intuos.  I have a good feeling that things will only get better from here on out!

Sketch Diary – The Gift Giver Part 2 – Drafting

The last sketch diary for this image talked about conceptualizing the piece.  Now that the thinking part is done, it’s time for the doing!  At the start, I had decided to do this piece digitally due to time constraints, but also to give me a chance to break in the used Cintiq 12WX that I got as an early Christmas present!
 

The rumors are true!  Cintiqs really are made with unicorn horn dust and the solidified happy thoughts of artists!  My first impressions are highly favorable and I’m really excited at the natural line weight I’m able to achieve with this tablet, thus far.  I’ll be writing up a more in-depth review of the Cintiq in a later entry. 

Long story short, I’ve had a traditional Intous3 tablet for years, but could never get used to the unintuitive feel and disconnect between my hand and what I was seeing on the monitor.  The Cintiq has eased the process by letting me see exactly what I’m drawing and responding more delicately to my hand motions. Curves are especially easier to draw because I can see precisely what I’m doing and rotate the Cintiq as needed to draw the curve more easily.

 
Having given the Cintiq a test run on this image, I can say with confidence that I can finally get a more natural comfortable workflow with my line art, if this draft is any indication!
 
We’ve gone from this…to this
 
Somewhere between sketch and draft, her hair was cut back to allow for a more controlled directional flow in the composition.  She’s also lost her wings, since they would have interfered too much with the detail in the hair.  The grey spaces and Christmas trees are placeholders until I can work something more detailed in with color in the next phase.  
 
To achieve the abstract effect for the Christmas trees, I used a stock image, then in Photoshop I went to Image>Adjustments>Posterize.  That broke the tree image down into simplified forms which blend better with the line art.  I may end up actually photomanipulating a good deal of the background due to time constraints, but we’ll see what I can dish out!  I still have a few subtle  hatching details to add to the line art, but for the most part, she is finished!
 

Sketch Diary – The Gift Giver Part 1 – Concepts

It’s that time of year again!  Yes, that glorious time where I rush to finish my yearly Christmas card at the last minute!  Folks seemed to enjoy last year’s sketch diary for Lady Snowflake so I thought I’d document this year’s card in much the same fashion.

It all began with trying to figure out what I wanted to do this year!  Poinsettias?  Candles?  Holly leaves?  There are so many visual motifs to play with for the season!  I put up a poll on DeviantART asking what folks have enjoyed the best and art nouveau ladies won out!  It’s true, I admit my favorite Christmas card is still the 2nd one I ever did, entitled “Holiday Nouveau”.  I wanted to bring some of the warmth and style of this piece into the newest card.  Plus, I had never used big shiny packages and bows in a card before!   There’s nothing like beautifully wrapped presents to bring cheer and excitement to the season.

With art nouveau ladies and shiny packages in mind, thumbnailing began!
 
 
Out of all of these thumbnails, the top two resonated with me the most. They have the most interesting visual flow and dynamic posing.  The top right ended up being the winner for the fact it’s completely different than all of my previous cards, as well as the fact there is more interaction between the figure and the presents, giving it more of an active story in the piece rather than ‘dainty lady posing with packages’.

 

Mizzd-stock‘s beautiful holiday stock also lent a hand in inspiring me for this gal’s attire:
Such beautiful hair and costume! I’m sure to bring in some of
these motifs into the finished piece.

 

Next, I brought the thumbnail into Photoshop and sketched directly on top of it digitally.  It took a good deal of fiddling with window shapes before I arrived at this simple single rounded archway vignette.
 
 
The flow of the piece is doing what I want to it to right now, but the anatomy and awkward angle on the torso were completely baffling me!  So I took a few reference shots of my own to try and get a more solid grip on the anatomy.  I also set up a light on the floor to act as an unearthly glow in the faerie’s skin.
 
Sadly, I am neither thin nor faerie-like, so I’ll need to do some anatomy tweaking while I’m referencing this in my piece later.
 
And that’s it for the conceptualization phase!  Stay tuned! I’ll be blogging my progress throughout the week and hope to have this finished by next weekend. Wish me luck!
 
I’m gonna need it!
 
 

Games as Art: Fatal Frame III

A long time ago in entries past, I rambled about the inspiring designs of games like Folklore and the beautiful grotesqueries of Fatal Frame. I wanted to come back to those discussions in what I hope to be an ongoing series on this journal (yes another one) featuring games I feel move beyond mere entertainment into the realm of being a work of art.

I love games, the art that goes into them, the music, and the increasing quality of storytelling we’re seeing as the industry progresses for example Mu Origin Europe.  With my current career choices leading me down a possibly game-related path, it seemed only natural to start exploring this passion of mine and connecting the dots of inspiration, artistry, and industry. I enjoy games and casinos, by reading these casino FAQs, you can learn more about me and how I developed a passion for online gambling games.

 

So let me introduce you to Fatal Frame III: The Tormented, a little known horror game that came out in 2005 exclusively to the PS2.  The story revolves around a young photographer named Rei Kurosawa. Barely a year before the start of the story, Rei lost her boyfriend, Yuu, in a car accident, which she blames herself for.  Rei begins to unravel mentally when she experiences a hallucination of her boyfriend beckoning to her during a photo shoot at an abandoned house.
She begins to dream of a sprawling mansion,Yuu beckoning her deeper into its depths.  Ghostly priests and priestesses bow at her presence and she soon finds herself staring up into their faces as four young priestesses line up silver stakes with her hands and feet, chanting a lullaby while they nail her into the ground.
 
A scene from Rei’s initial dream. Surrounded by four singing
priestesses.
 
The Manor of Sleep.
The game untangles the mystery of this ‘Manor of Sleep’ and the urban legend that those who visit it will either be reunited with their departed loved ones, or disappear from the real world with nothing left of them but ashes after 7 days.  One need not have played the past games to enjoy this one, though those who played the previous games will recognize familiar faces and recurring locales. At android4fun.net you will find all the latest android games and app, all free to download.
 
The game features three playable characters who all have varying abilities which allow them access to different parts of the Manor of Sleep with the main combat mechanic involving the use of an old fashioned camera to exorcise violent spirits who attack you. If you need more thrilling games like this that would surely put a jolt in your body, you can experience them on sites such as roulette online.
 
This is where the game really starts to play tricks on the mind.  Unlike many other horror games where you have to run or are able to combat your monstrous enemies with brute force, Fatal Frame (true of the entire series) forces you to stare at them as long as possible so you can get the best ‘shot’ of them with your camera, and therefore the most points.  We must face our fears and look them dead in the eye.
 
Facing our fears up close and personal.
Rei and Miku’s huge apartment must
cost them a fortune in rent in Japan!
If that weren’t nerve-wracking enough, the game’s story unfolds in day and night chapters, the day sections taking place in Rei and her assistant, Miku’s, apartment, while the night chapters start with Rei falling asleep and dreaming of the same ghostly mansion each time.  She starts in the same location almost every night, giving us a feel of deja vu each time she awakens to the same terrible situation.  Each night she must venture deeper and deeper into the Manor’s depths and uncover its terrible secrets, cementing the sense of impending doom in the Player every time she awakens.
 
Sure enough, as the game unfolds, the horror of the dream world begins to invade the safe realm of the apartment, pushing the tension of the story and the desperation of the characters to a breaking point by the end.  
 
Eventually Miku becomes embroiled in the mansion as well and we see her view of the Manor of Sleep where she, too, is searching for a loved one, and a ghost that has plagued her own family.  Those who played the first game will feel that tightening sense of dread when they see the hints of the Rope Ritual from the first game in the familiar dreamscapes that invade the Manor’s geography and cast us deeper into the unfamiliar.
 
Those of us who played the first game will know to fear this hallway.

 

Ritual sacrifice plays a large roll in making Fatal Frame as immersive and terrifying as it is.  Each game forces us to unravel the mystery at the heart of each central ritual and what has caused so many tormented spirits to remain on earth. These mysteries usually involve the troubled lives of the main characters, and therefore the Player, who empathizes with the trials of the characters as we descend deeper and deeper into madness with them.  This tie to Japanese Shinto ritual also provides one of the strongest visual motifs for the series, which is permeated with eerily beautiful images of corrupted priestesses and picturesque temples destroyed by past cataclysms.  We, the Player, peel back layers of mythos through documents, love letters, old photographs, decrepit film reels, and snippets of flashbacks presented via cg scenes overlaid with dated film texture, all utilizing a subtle design sensibility that submerges us in a world of old, forgotten things now coming to light.
 
Fatal Frame III takes the Player beyond a mere product digested for entertainment and into another realm of emotion, utilizing all the tricks of charged atmosphere, clever audio-visual queues, involved storytelling, and subdued design to create a wholly unique experience in gaming. A pity such a game will probably never see widespread acclaim, being as niche as it is, but it’s my hope this entry will have at least shed some new light on an old gem some of you might appreciate!
 
For now, I leave you with more shots to haunt you into the Halloween weekend:
Rei stands amid lanterns sent out for the dead.
A great example of the creepy beauty in this horror game.

 

Forgotten Shinto rituals and shrines give this game an eerie atmosphere
saturated by folkore.
 
Just one of the many creepy ghosts with such fascinating
details that make you want to both run away and look harder.
While outright gore is rare, the game relies more on hints
of gruesome ceremonies to drive the tension.
Just a note – that’s not a massage table.

Finally, we have a video of the intro section of the game I described above:

 

 

 
 

Commissions, Portfolio Reviews, and Study Sources

So a lot of big changes have been stewing in the pot for me.  With the decision to switch focus to more concept oriented work, I’ve been gathering resources to study not just design and the game industry, but also sources to help me in this challenging transition from traditional to digital media.  I’ve also realized I need to step up my fundamentals, especially anatomy, perspective, and my old enemy – the background environment!

I feel like I’m going back to school again, which is kind of exciting!  I miss studying and learning new things and even considered picking up some classes here at SCAD-Atlanta again with my alumni discount, but I figure I would try the self-study route first and see what happens before getting myself into more student debt than I already have. I learned about student discount squirrel, its an amazing site that has discounts for everything! It definitely helps me since I am on a tight budget.  No doubt this is going to be a willpower-driven endeavor, but I CAN do this!

I feel like I’m shooting myself in the foot here, but due to the amount of time I should be studying instead of toiling into the night on commissions, I am shutting down private commissions UNLESS they have no deadlines whatsoever.  I’m still going to finish the ones in my queue, but from now on, you will only be able to purchase custom work from me based on what is available in the Custom Items section of my Etsy shop (masks, keychains, pendants, earrings, etc. Mainly my crafts).  I am still available for commercial and corporate work, however!  I do need money, but I need my sanity more!

Rather than feel like I’m taking something away from you guys, I figured I’d offer something new – Portfolio Reviews!  If you would like me to look at your work and provide constructive criticism of your strengths and weaknesses, send me an email with a link to 8-10 pieces, your name, a bit about what industry you’re aiming for, and your website link with the SUBJECT: Portfolio Review.  If you don’t know what industry you’re aiming for, let me know and I can always suggest what comes to mind in my humble opinion based on the work you present to me.  It’s a great way to get your work featured here, which I’ll be doing once a week once I have somebody to feature!

Finally, I figured I’d share my list of study sources just in case anyone else is curious or going through this same transition.  I’m on the lookout for more sources also, if anyone has any suggestions!:

Anatomy Books:
ImagineFX Presents: Anatomy – A nice collection of common problem anatomy areas complete with many charts, photos, and contour drawings by top notch artists. I snagged this one digitally for a low cost.

Atlas of Human Anatomy for the Artist – This is a somewhat dated book, but the section on different body types, expressions, and the effect of aging are exceedingly useful! Also, you can’t beat $6 for a used copy.

Figure Drawing: Design and Invention – Breaking down the body into simplified shapes and contours. I love the approach of the gesture method used to establish the energy of a pose first before trying to construct the heavier lines, muscles, and forms. Energy is important and I feel this book is going to help me with my stiff figure problems.

Digital Coloring Books:

Imagine FX Presents: Fantasy Workshop – I’m a big fan of ImagineFX magazine for its inspiring tutorials and wonderful art from the game industry. This collection gathers many of the artists from their first run of magazines for specific techniques and tricks with screenshots for how the effects were achieved digitally.  Unlike the 2nd book, which just gathers pre-existing workshops.
Digital Painting in Photoshop – Just a basic book on Photoshop tools. I know most of it, but there are some holes in my knowledge as far as file processing and setting up workspace and workflow. Sometimes it’s good to get back to essentials, especially when you’re self-taught and might have some glaring knowledge holes that could come to light in a digital job.
Digital Masters Collection: Volume 1 – Digital Painting Techniques – A straight up digital fantasy and scifi art book with instructions on how each image was made from pros in the industry.
Concept Art Books:
Avatar: The Last Airbender (The Art of the Animated Series) – Admittedly motivated by wanting this for my personal collection, but what better way to learn than to study this series that has inspired me so greatly?  I intend to learn much from the designs which are so similar to the subject matter I’d love to be hired for, with particular attention paid to how they had to simplify the designs to work for television animation.

Game Art: Creation, Direction, and Careers – Also somewhat dated (as they’re still talking about looking forward to nextgen systems like ps3), but the info on what sort of staff makes up a video game development company and what one should expect in their job is golden!

Instructional Videos:
CGMWORKSHOPS – A wonderful channel on YouTube showcasing the videos of various master artists and designers.

FZDSCHOOL – A channel on YouTube featuring videos from an amazing school of design with easy to follow videos on basic design concepts and digital painting techniques.

TheArtDepartment.org – An offshoot of conceptart.org for their instructional workshops. Amazingly, I just noticed in checking the site this morning that their videos are STILL on sale for $7.99!  Personally, I’ve grabbed their workshops on color, composition, and perspective with a few of Jason Chan’s character videos.
And that’s all for now!  Let the learning begin.  My sponge brain is ready!  Or perhaps it’s just spongy from all those marker fumes…hrmmm…

Confessions of an Artist: Switching Career Focus?

So back to a serious topic I broached somewhat when I was talking about what is working for me and what’s not.

I’ve been weighing my potential career through a clouded looking glass lately.  I’m turning the big 3-0 this year and this fact has me particularly introspective about my path in life.

I could continue going down my current path of the feminine high fantasy and really try to tailor myself to everything that the licensing business wants (colorful, steampunk, unicorns, fairies, holidays, angels etc.)  All lovely in its own right, but I just can’t seem to get motivated for anything lately.  I find myself asking too many questions:

“Is this what I want to be known for?”  

“Is it too late to change what I’m doing now if I want to do something different?”


“Is my current path what I’m passionate about?”

More and more, the answers to all three questions respectively are No, Yes, and NO.  This indecision has led to more than a bit of art block for me lately (probably why my crafting has gone WAY up and new 2D art has gone WAY down.)

If you would have asked me what kind of artist I wanted to be when I was in high school, I would have told you I want to be the person who illustrated RPG books, a video game artist, and also write and illustrate my own story books.  One by one, I convinced myself I could never make a living doing any of these things, an attitude aided by the discouragement of family members and teachers who claimed ‘illustration’ was a dirty word.

More practically, I didn’t want to move from my current location to follow the job opportunities that might’ve sprung up from these industries.  On average, if you want the well paying jobs in the industry, you have to be willing to move to snag those jobs and I was just not ready yet to detach from my family out of high school.  Sure there is freelance, but for team oriented jobs, you are generally expected to relocate.

Nowadays, I’m haunted by the constant probing of doubt in the back of my mind. I am overwhelmed by choice every time I sit down to draw to the point the pencil feels so heavy, I can’t decide what to do.  I’ve decided it’s high time to empty my head. That old bugaboo, Money, will come through side jobs or temp work. If I’m bored at my current job, I may as well be bored at a better paying job and not force the art out.  I don’t expect to be inspired every minute I work at my job, but I would at least like a greater majority of inspiration as opposed to being absolutely bored, to at least feel satisfied with the proportion of inspiration and effort that goes into my work and the payoff that equals in satisfaction with money, life, and otherwise.

What’s important to me now is to follow my passion.  More and more I realize that my passion is leading me back to the original impossibilities – concept art, writing, and other such unfamiliar territory.

I can’t help but feel this is a step backwards. I have a book out already focusing on high fantasy illustration of a feminine nature. Does this mean I can’t change?  I have an established body of work completely different from what I originally wanted to do, in subject matter and even in choices of media (I am a traditional media artist venturing into a digitally dominated field. HALP!).  Does this mean I won’t be able to sell those older products anymore?  I am at level zero again realizing that if I want to switch focus to something like concept art, I will need to completely overhaul my body of work and my public identity.

I need to be at least as good as the people already working for the companies I’d like to work for.  I need to step up my game, get back to basics, and for the love of Prismacolor, I need to learn how to draw digitally!

With all this change in the wind, I have no doubt I’ll still be making art, even if it’s a bit different from what I’ve been doing before.  I hope you all will bare with me, all the same!  I have some wonderful art buddies who have been mentoring me during this transition and even the wonderful Hayley on board for a collaborative design project.  There’s hope, if I can just carve out the hours of the night enough to pull together a portfolio by Spectrum Fantastic Art Live, where it is my intention to tout my wares at portfolio reviews as a Concept Artist for the first time!

Today, I’m feeling old, tired, scared, and more overwhelmed than ever before.  So it’s back to square one, remembering my passions and moving forward, unstoppable. I’ll find where I fit in this big puzzle of life!

(Hopefully by the time I’m 40)

Anatomy of an Art Fair Display Part 2

(Continuing Anatomy of an Art Fair Display Part 1, which featured the main items involved in an art display setup. Now for a closer look into the nooks and crannies of the display!)
 
 
 

9. Curtain Hooks – I used curtain hooks to support my framed pieces. Be sure to get the ones with the super sharp ends! I was not happy to find the first batch of hooks I bought were the blunted kind, which equaled much cursing and trying to stab a carpet with a blunt object and failing. ($2 a pack at Lowe’s)

 
10. Rotating Counter Rack – Great for the display of small prints or greeting cards and you can put a little sign on top. This particular rack has been with me for years now and has survived! ($35 at Displays2go)
 
11. Portfolios – I used an Itoya portfolio to display my large prints.  For the art cards, a simple trading card album worked well! ($5 – $11 at Hobby Lobby)
 

12. Print Bin – Actually a collapsible file box. Bottom comes out and it folds down, making it much easier to transport than my solid heavy print bin.  I’m thinking of replacing this with a much more rustic looking woven rectangular basket from Lowe’s (which is advertised as ‘closet storage baskets’). ($10 at Walmart)

 
13. Necklace Forms – I prefer the white ones as they show lint and dust less and my jewelry stands out against them. ($12 at Joanns, Hobby Lobby, and Michaels.)
 
14. 3 Tier Rotating Rack – These racks come with three levels of hooks which are great to display small items like bookmarks, keychains, earrings, and bracelets.  You can adjust the level of the tiers or remove them completely.  ($26 at Store Fixtures, USA)
 
 
 
15. Mannequin Head – This head came with pierced ears, making it great for displaying jewelry in addition to masks!  ($26 at Store Fixtures, USA).
 
16. Minion (aka. Mom) – Art fairs are sooo much easier if you can trick someone into working for you in exchange for food!  That way you can actually use the bathroom without having to burden your neighbors with watching your stuff while you run as fast as you can across the street to the poddy and back.  Minions also make load in and load out 200 x easier. (Priceless! I love my mum.)
 
17. Director’s Chairs – My family was already using these to stake out sporting events. They fold up for easy transport and are much more comfy than plain folding chairs.  The drink holder is handy as well if you don’t want to put your cup on uneven ground or on your table with your art. I think we got these chairs at Sam’s Club, but I am unsure.
 
18. 3 Tiered Plastic Magazine Rack – Great for books, prints, and anything roughly 8.5×11 in. shaped! ($30 from displays2go.com)
 

19. Visa/Mastercard Sign – A simple plastic sign used to notify customers that I take credit and debit cards. I printed it off on cardstock and slipped it into the stand. You’d be amazed at how comforted people are to know that you can accept plastic money! Many people don’t carry cash anymore, either because they prefer not to or because they’re trying to limit their budget. Accepting cards is a good way to be that evil influence prompting people towards impulse purchases. That sounds bad, but hey, it’s true! ($5 at Walmart or Staples)

 
20. Business Cards – Always ALWAYS have plenty of these on hand for customers (or for trading with your neighbors!) Networking is one of the biggest assets of actually venturing outside of your art cave and attending events!  I usually buy mine in 1k bulk packs from Vistaprint when they have special offers. They usually toss in a free pen or ink pad too, just watch that you don’t click to confirm any subscriptions during their lengthy checkout!  I hear redtagprintsale.com has some nice prices on biz cards, but haven’t tried them yet. (Roughly 10 cents per foil stamped card at Vistaprint.com)
 

21. Crushed Velvet Table  Cloth – This piece of material has been with me from the very beginning! It’s actually just an oversized piece of crushed velvet I got at the store when it went on sale. I’ve used it as a backdrop when photographing crafts, as a backdrop for hung pieces, and also as a way to cover up my table when I leave and don’t want people to be tempted by what’s left underneath. (Approx. $3 a yard on sale at Joanns Fabrics)

And that’s all for now!  I’m curious to see how my display will evolve over the next few events.
I’ll be sure to let everyone know once it has leveled up!

Back to Part 1

Anatomy of an Art Fair Display Part 1

So now for something completely different!  With the art fair season nearing and so many folks expressing their thanks for the usefulness of the Evolution of an Artist Alley Table posts, I thought it high time to post my art fair diagrams!

Mind, that this display is my very first setup and will probably change down the road as I learn, improve, and add things. Let this journal act as a record of where I began and hopefully as a tool for others looking into selling at fairs!

You might recognize some of these items and descriptions from the Artist Alley diagrams because I totally believe in re-using things where possible.

My first fair on Fayetteville’s courthouse square!

1. EZ Up Tent – This tent is a great first tent for those who don’t want to spend the $1k that most of the Craft Huts cost!  It can be set up by one person, is white (as per most art fair requirements), and fairly easy to transport in its included roller bag.  Here is a video on how to set it up with one person (because I didn’t find the included instructions very helpful).  Be warned, however, as this tent is light and is known for blowing away and wreaking havoc!  I snagged some velcro weight bags which you can fill with sand or gravel and that strap to the poles so people won’t trip over them. ($200 at Sam’s Club)

2. Retractable Vertical Banner – A pricey item, to be sure, but the fact I don’t have to carry around a big pvc pipe set nor have it taking up space in my car makes this item well worth it! This vinyl banner pulls out from and retracts back into a spring loaded base that is about as big as a tabletop easel and very lightweight. I’ve lashed it to the tent pole using velcro straps so it wouldn’t blow away. Mine was printed by my brother’s sign shop. ($300 at Graphic Signs Atlanta for stand with metal base. $100 for cheaper version at Staples)

 
3. Propanels – After much debate over whether to get carpet panels, roll up mesh panels (which are about half the price), or to jerry-rig my own from something, I decided to go all-out with Propanels. Mesh panels, while collapsible and therefore more transportable, were still about $1k after all was said and done.  I also can’t use mesh panels without the support of the tent’s rafters, whereas Propanels can stand on their own, making them useful for any cons or shows I do without a tent. The ‘knock down’ variety of panels pictured here can be split in half and transported far more easily than the full panels, even if I’m still having trouble fitting them in my teeny hatchback. ($2k from Propanels.com for the Booth A setup with Knock Down Panels plus required hardware. I owe my family favors for the rest of my life for this one. Ouch.)
 
4. Tables with Table Cloths – The two small display tables on the left of the picture are actually tail gating tables bought from Big Lots for cheap which fold up and have an easy carrying handle. They were super light, however, so I had to weight them down with objects on top. The table cloths were just scrap bits of material thrown on last minute, I admit. The larger table on the right is a white plastic table bought from Sam’s Club that folds up and can also be carried. It is a bit heavier than the tail gate tables and doesn’t really need to be weighted down. ($20 – $30 at Big Lots and Sam’s Club.)
 
5. Easel with Signage – The stand up easel was purchased at Joanns Fabrics and is just a simple cheap wooden one without any bells and whistles. The sign was printed on foam core by my publisher and was eventually replaced in this setup with a piece of framed art instead. I’m fairly sure you can get foam core signs like this at Kinkos or other printing places. ($10 at Joann’s Fabrics)
 
6. Folding Canvas Print Bin – This is the medium sized print bin available from Dickblick.  Prints ranging from 11×14 in. to 18×24 in. look best in it.  I noticed most people would stop and flip through it rather than venture into the tent. Note to self – MOAR flip through bins for people! Folks looove to browse through them for some reason. Folds up for easy transport. ($25 at Dickblick.com)


Stuff I forgot to include –  The Carpet – I like the idea of a carpet in a tent. It feels so much more cozy, as if you’re walking into a little shop!  It also made the ground a little more even for customers to walk on.  We also used it to lay items on while we were setting up so they wouldn’t get muddy.  My family picked this up in a flea market in Saudi Arabia years ago so I have no idea how much it costs.
 

This entry is going a bit long, so I’ll be breaking up this grand monologue on art fair display into parts.

Stay tuned for a closer look at the particular display items nestled within the tent next time!
 

Confessions of an Artist: Touching Down to Earth

I started this blog 3 years ago in 2009 to document what I hoped to be a successful journey into publication, an art career, and to aid my fellow artist at the same time. After so long, I’ve finally sat down to re-assess where I am, how far I’ve come, and where I’m going as it pertains to my current career goals.

It’s important to stop sometimes and be honest with ourselves about what’s working and what’s not in business, because in the end a smart businessman needs to do this or you have no business at all if it’s not making any money. It is true that passion is key, but if you’ve made your passion your business, you still have to acknowledge these sorts of things or risk wasting a lot of time, money, and willpower by ignoring problems you could solve if you could just touch down to earth every once and a great while. So here goes…touching down with one finger!


What’s Not Working (Because I prefer to end this post with the good stuff)

The Amazon Webstore – A couple of years ago, I jumped headlong into the webstore solution because I really truly believed in Amazon as an effective marketplace for artists. I took a gamble and put up a good deal of my own money to buy UPC codes and pay the store’s monthly fees. It started out great at first. The shop was paying for itself and provided a great way for me to professionally present my products.

But upgrades do not always equal improvements and the system really went downhill for me after the first year. When year two rolled around, I only sold perhaps a total of 10 or less prints in an entire year? I don’t know what happened, but for something I was shelling out $60 a month for when all the fees piled on, I lost a lot of money. I canceled it last week even though the fact I’d put SO much initial cost and effort into the setup made me hesitant to do so. I’m only just now beginning to move my entire store offerings to Etsy and Artfire .

Sometimes we gamble in business and sometimes we roll Snake Eyes. (Expect the full story of how Webstore fails in a future blog entry).

Conventions (Both Attending and Mailing In) – I attended or mailed in to at least 20 conventions in the past couple of years, but honestly?  My average profit margin after expenses was about $20 aka. a complete waste of time.  The only convention I’ve ever done consistently well at has been DragonCon. I won’t be doing cons anymore, minus the few I know have worked for me in the past.  If I do attend, it will probably be as a con-goer/art agent and not a vendor.

I am moving on instead to targeting art fairs where I can sell my crafts or book fairs where I can sell my books.  The only conventions I plan to attend from here on out are ones that line up with my career focus (ie. Illuxcon, Spectrum Fantastic Live Art, etc). I feel they will be more worth my time and help me focus on building my career rather than pandering prints at places that just aren’t working out.

Prints – Speaking of prints, they just don’t sell for me. You would think they’d be the staple of an artist’s income, but they are not (at least not me). People’s walls are full?  Perhaps I just need better art?  Or lower prices?  Perhaps Webstore sucked my print sales into the void along with Jimmy Hoffa?

Whatever the cause, other things (craft items, post cards, etc) are selling far better in recent times.  I’ll probably still have prints for sale up at my Etsy and by request, but they’re not on the top of my list of things to put in my shop anymore.

Illustration as a Career – I have tried and tried to find art reps, have sent out to all the major Fantasy/Scifi publishers who accept art submissions, have sent inquiries to licensing reps…but have met rejection or silence or automated emails each time.  This is not whining, but merely a statement of results. I know full well what I would need to do to improve to meet the demand (ArtOrder is especially helpful for educating artists in this respect), but I find I just don’t have the motivation anymore.

Frankly, I have found myself terribly bored with illustration after these couple of years. I just don’t think I have what it takes to be successful in this route because I find the current trends that are selling terribly boring. The best among us can find a way to add their own unique flair to the trends, but I just can’t seem to get myself motivated.

You have to be willing to combine the passion for the arting with the passion for what sells and I have found that even though I have a list three miles long of ideas I could try to license, I am not excited by them nor am I motivated to resubmit to the selfsame companies I submitted to before with the current work I have. I want to be challenged, I want narrative, I want engagement, and most of all I need to improve as an artist to get where I want to be.

And that is why I’m considering a change of career focus from illustration to concept art.  Funny enough, close friends who have known me for years are confused as to why I haven’t done this the first time round.  Looking back on my most successful works, they are the ones that are character-driven or involve character design in some fashion.  I’ve collected concept art books for years. I’ve always found the most fascinating part of movies and video games to be the art books and concept art development diaries. I have my reasons for having not ventured into concept art from the outset, but that’s a whole other blog entry altogether!

Money – In the end, it all boils down to the fact I am not making near enough money to support even a small apartment. The job hunting has begun and so has a push to focus on freelance means of income in the meantime (commissions, crafting, and content editing, anyone?).

What IS Working (Just when you thought the ‘not working’ section would never end)
Being Published – Angelic Visions has been a great source of pride for me, even though I never would have thought an art book would be the first thing I was to write (I had planned to pen my own fantasy novel in the wee hours of the night first).  My royalties from this book have been sobering, as it’s only just made back my author advance, but more sobering is the statistic that an author needs an average of at least 20 books to survive off royalty checks alone. This book is not going to make me rich and famous, but it’s an accomplishment that makes me feel I am capable of so much more if I set my mind to it!
Etsy – Thanks to Etsy’s Shop Stats dashboard, I’ve been monitoring marked improvement in sales from a meager 5 orders in 2009 to 30 so far this year. And that has been without promoting Etsy that much. Now that it’s my only shop front after Webstore’s recent demise, I expect orders to go up exponentially. I’m focusing on revamping my shop now and plan to build a wholesale orders website to match it soon, as that could be a nice consistent chunk of income, if I play my cards right. Go figure that Etsy also gets 4 times as many pageviews as my website or Webstore ever did.
Networking – The one good residual of conventions has been that I have been able to meet and connect with so many wonderful and inspiring artists! Mack and Linsner probably think I’m a stalker by now, but it’s been great to meet them and find them a familiar face in this or that event. Meeting other artists keeps me sober to the fact I’m not alone in this ‘fool’s errand’ people call art and drives me to improve and succeed. I’ve learned so much from meeting others, both about technique, running an art business, and keeping motivated.
Crafting – I turned to leather and jewelry crafting as a means to de-stress from the burnout I was feeling.  While my art and prints sat there gathering dust not selling, these craft items began to sell consistently. (A good thing, too, or I’d be buried in butterfly keychains and masks!).  I’ve had multiple boutiques come to me asking to consign or for wholesale rates and, best of all, it is something I can do without being sickeningly bored! The slice of the swivel blade and the tedious painting of insect markings is a meditative exercise for me.
Funny how we stumble unexpectedly on passions.  My dad was a leathercrafter in his younger days and I suspect I absorbed some of that passion somehow.  I don’t plan on making crafting my long term career, but as long as it’s bringing in some income, it’ll help me out while I’m seeking out that paycheck work to make ends meet.
In Summary – Skimming out what’s not working, focusing on what is. Hoping my experiences help anyone else out there who might be considering a similar path.  Good luck to us both in this roller coaster called being a ‘creative professional’!