Happy Holidays!!!

Creative Biz Note #18

The Illusion of Promotion

I listen to the podcasts and read many forums...one thing that seems to pop-up is the disgust for paid promotional websites and source books. Are these forms of advertising nothing more than deceitful, magical illusions of grandeur swindling all the artists? Many will argue...that you have to spend money to make money. Yes, you have to do your research, work within a budget and be smart about your advertising. But an artist will never survive on postcards or word-of-mouth only. Remember, this is coming from a guy with a background in promotional advertising--so, maybe this is not of biased opinion.

As a beginner, have a budget and take it slow. Join free portfolio sites. Postcards and cold-calling will work just fine too. Build your own client list by doing bookstore or online research. And possibly even purchase an email listing of art directors and art buyers. Exposure and persistence are key!!

Creative Biz Note #17

PixelBoy's Studio Set-Up

I think it's always interesting to see how other artists set-up their studios. It's as though you're getting a glimpse of their creative soul. I thought that I'd talk about how we laid things out and why.

SIKids Cover--Dec. Issue!

Sports Illustrated Kids magazine has a monthly back page comic and the lead character is "Buzz Beamer". Bill Hinds, the comic artist, did a few rough sketches for us and then we took it from there. The left half of the cover had one of those extra cover flaps glued on with an advertisement on the inside. The reader flips it open and a photo of the SportsKid of the Year is revealed--he's standing on stage with Buzz.

Clients from Hell--A Collection of Funny Stories

I found this site with a collection of anonymously posted client quotes. Though I must add that all "OUR clients" would never be quoted on this list.  : )  Actually, joking aside, we're very fortunate to have a mountain-load of friendly, intelligent clients.

Here are some of my favorites:

“I understand that you prefer to use photoshop, but we don’t feel like that program is universal enough. If you could do all of the design work in Microsoft Paint it would be easier for us to edit what you do and give you an idea of the changes we want.”

"We didn’t think that you would finish in time for the deadline. So we hired a bunch of other freelancers to finish your work. Since the new freelancers were more expensive we won’t be able to pay you for all the work you did”

Check it out:
www.clientsfromhell.com

Creative Biz Note #16

Email Campaign Tactics

I pulled together some points I found in my notes:

- Each time you send out postcards or emails you are creating a brand for yourself. Keep it consistent and have a strong design. Just because you illustrate doesn't mean you can design well. If needed, find a friend to help out. Branding is more than your business cards or website--it can be as simple as the presentation of your project estimates to the greeting on your voicemail. Get feedback. Sorry--big tangent here.

- Make sure your email images and information are within the preview window. They need a sneak peek to lure them in. Most people don't enjoy scrolling down. A click-able link to your website should be available within the preview window too--it could be the image itself.

Sketch Pad 05

Project: WalMart Sticker Program 
I recently did these sketches (with their finals) for a pitch going to WalMart. I had very little time to  come up with the concepts--most of the characters have only one sketch because that's all the time I had!!! LOL Each character had two small iconic images to go with it. Plus, I did some pattern work too.

Testing, Testing...

Awhile back, Lee and I decided to push ourselves into the realm of animation. Lee is currently developing a process to quickly rig character faces for our illustrations. This would give our characters even more personality and eventually prepare us for animation. Here's an early glimpse of a boy's face that we'll be bringing to life--eventually, displaying his humorous facial expressions on our homepage.

Creative Biz Note #15

Deductions: Being Smart with Your Money

Paperwork is just part of the illustration process. Estimates, invoices, contracts and finally...taxes. All my moaning and groaning hasn't made it go away!

If you're serious about saving money and running a tight ship, then you will always be looking for deductions. But who wants to think about taxes all year round!? Eventually, it will become an effortless habit--believe it or not. The categories to deduct are: home office sq. footage, meals while doing business, travel for business (conventions), advertising, supplies, office equipment, hardware/software, utilities (phone), insurance, postage, subscriptions, books, attorneys, accountants, and services/other freelancers. If you have to replace a lightbulb in your office--you can deduct it! Anything that goes into your office is fair game. As an artist, you can deduct anything that furthers you as an artist for your business. Anything that relates to your art business. Our business is about visual stimulation...that falls into many categories. If the deduction is unclear, then be sure to write the reason/purpose of the deduction on your receipt.

Creative Biz Note #14

A "Non-Digital" Portfolio

Next week I'll talk about deductions...I need more time on that post. But I thought I'd toss out the topic of the artist's "book".

Where can someone buy a decent book? Try these two sites--- http://store.pzdirect.com/scbi.html http://www.case-envy.com/ I bought a book with screw posts--not a 3-ring binder type. The 3-ring is annoying and art directors hate it--but 3-ring does lay flat. But a screwpost book allows the two pages of a spread to stay flush (without a big gap). Buy extra pages (of course). I bought 8.5 x 11" pages--easy for printout inserting and a smaller size helps not cover the art director's entire desk!!

Sketch Pad 04

(Click to Enlarge Image)

Project: HMH Educational Science Book
A few of the sketches for an educational book. In the middle, the splashing frog displays 3 stages...how I place the sketch on the top layer and MULTIPLY it at 50% over the art--working underneath. I work under the sketch for the base vector work sometimes turning the sketch layer on and off to see my results. Once I'm happy with the quick base work, I usually move the sketch to the side (keeping it out of the way) but using it for reference.

Creative Biz Note #13

The Missing Tear Sheet Link

The "PixelBoys" (that's what our rep calls us) feel "it's" one of the most important elements to have on your portfolio website...very few artist sites have it and art directors love it...it's called a downloadable PDF tear sheet or a "virtual tear sheet".

Some of you that are just starting out may be saying,"What the heck is a tear sheet?" Well, a tear sheet is used in the advertising world--it's a page from a publication to prove to a client that an advertisement was published. An example, illustrators will receive about 500-1000 tear sheet pages from publishers for ads they place in source books. These ad pages can be handed out or placed in the back of a portfolio or even mailed for promotional purposes.

So, as an illustrator, you would want to have on your website/blog a downloadable PDF page (or two) displaying your best pieces. Everyone can view a PDF--Acrobat Reader is standard on most machines.

A Quick Story: From an art director's perspective, when I flip through a 400-page source book and find that one perfect illustrator--I eventually look on his or her website. I want to see more. At this point I will need to probably color copy the ad out of the cumbersome book and may even need a job number to make a damn color copy (if I work at a large agency)!!! Then I can take my color copy to the creative director's meeting to push the artist as a possibility for the project. I may be sticking this copied page on the wall as a reminder for a project that isn't scheduled to start until two months from now. Either path, a downloadable PDF would instantly place your art on the art director's machine allowing he or she to show other team players and print it out with ease. This is a very helpful tool.

The Idea: Make it easy for art directors and art buyers to sell your artwork.

Sites I've read on this subject: http://www.adbase.com/Insight

Next Creative Biz Note #14---Deductions: Keeping More of Your Money
(Feel free to comment)

Sketch Pad 03

(Click to Enlarge Image)

Project: McGraw Educational Book
These sketches were character concepts for an educational children's book. We spent little time on the sketch phase due to the schedule. Making the client happy and keeping the work within budget is our goal. A few of the characters had multiple options. I also added a rough for one of the twelve illustrations. We develop the characters in "detail" on a separate page and then the interior illustrations can be down and dirty--focusing only on layout. This way pencil alterations are no hassle. Of course, we would approach a picture book differently. See the some of the finals on our website.

Creative Biz Note #12

Keeping Momentum During Hard Times

I see it in the forums and have heard it on podcasts...the world has changed during these difficult times. Jobless friends, companies going under and clients not paying as quickly--everyone has a story. But there is work out there...the world has not stopped. A few of my colleagues even believe it's starting to pick-up!

Creative Biz Note #11

Best Format for Clients

I noticed a simple question on the IM forum that received a ton of readers--"What is the best format that illustrators find to send to clients?" So, I decided to post my lengthy response.

I go back and forth. JPEGs are typically viewable through a browser window. If I have a more than two images to send to a client, then I use a PDF and gang them into one file--make sure the images open up so they can view the entire image within their window (command D in Acrobat) and have the page panel open for them so they see that there are the other pages to view. We did this all the time in the advertising world. Make it easy for the client.

For hi-res files I send out a TIFF file (not JPEG--no compression). Stuff-it and/or put on a server for easy downloading. I try to make the process of receiving hi-res files easy and flawless. No passwords and user names to input to get to a ftp server. I copy my properties of the file on our server and the make a hyper-link on an email for the client to click. One click and it downloads to their desktop. Check out SendSpace Pro for an easy set-up.

Also, if I'm sending out a blast of emails (blindly) to unknown art directors sometimes their servers block random emails with attachments. Virus protection. It has happened to me before and I've read about it online with my e-mailing service. Embed images into the email giving it a better chance of making it through.

My experiences with cross-platform...file format doesn't matter so much. BUT most of the art industry is on Macs..if you work on a PC, remember that even with a Pantone Huey Pro correcting colors on your screen--an image on the PC will display slightly darker on the Mac. Adjust the image on the Mac with a PSD curve before you send it out.

Another point---Adobe Illustrator can be fussy when saving as a PDF format. A more involved process that holds all the raster effects that sometimes get messed up is to literally drag the art over to Photoshop--save it as a JPG or EPS and then output as a PDF from there or drag it over to Acrobat. Also, make sure you are using the latest version of Adobe Acrobat Pro...the software has improved ten fold over the last few years.

: ) Just how I do it.

Next Creative Biz Note #12---Keeping Momentum During Hard Times
(Feel free to comment)

Bright Idea Pumpkin

Our rep in the U.K. recently held a pumpkin direct mail contest among the artists--this was our submission. This was a quick one!!

Creative Biz Note #10

Getting a Good Rep

Due to our busy schedule, I haven't posted a Biz Note in quite awhile. Sorry about that! Let's start with the basics...an artist representative is an individual who solicits prospective clients on the behalf of a freelancer. They usually negotiate pricing and help with contracts. They will have relationships with certain clients or a personal list of contacts. It's been estimated that most artist workloads derived from reps are less than 50%. So, don't expect a consistent flow of projects coming in--keep promoting yourself. It may take a rep 2-4 years to get the ball rolling! Some reps may require a contract--some don't--hire a lawyer to look a contract over. Typically, they get paid by the client, then you get paid. Keep in mind that this pushes your payday out even further BUT your guaranteed payment (for the most part). Commission is usually 25-30%. Actually, that number is well worth it when you consider that the project you just received from your rep is an "extra" job with little effort. Also, a rep knows how to price a project (through experience) and will most of the time work with you to come up with a solid estimate.

Sketch Pad 02

(Click to Enlarge Image)

Project: Cat and the Fiddle (Promotional)
Awhile back, we created a sample spread for a childrens book and went with a cat playing the fiddle on a rooftop. These are some of the preliminary sketches created for the project. We dug on the internet for old world city visuals and attire for the cat. I'm slowly practicing on drawing more detailed sketches and multiple views when it comes to our 3D art. These images were my first and only attempts for the actual character concept. I just had the visual in my mind from the beginning and the concept worked for us. The sketches were placed into the background of the 3D software and "traced over". See the final on our website.

More Sports Illustrated Kids Work...

We decided to show the spread from our last project with Sports Illustrated Kids. We had two weeks to do five illustrations and then the images were going to press the next day. I knew it would be tight since we already had a heavy deadline on us for a book project. The client gladly received sketches four days later because of our time constraints and that left us with a week and a half! That's tight for 3D--five illustrations with caricatures and player uniforms--but we did it--and there were minor changes that only took us an hour to complete. Lee's quick fingers and our teamwork got us through this one! Mission was accomplished!! Click to enlarge.

Spec Work is for Stupid Artists--Don't Be Stupid

This video puts "spec work" in perSPECtive!

The definition of the word "professional"--someone who gets paid for their craft or service. The definition of "spec work"--when a potential client asks a person to work for free. A true artist DOES NOT do spec work--even if you are just starting out! It devalues the industry as a whole. I made this mistake only once in my career and learned from it. People do want quality artwork but they have to pay for it. Don't be fooled by their sales pitches or promises. If you're going to do artwork for free, then do a piece that you enjoy doing--that rocks and will get you future work that pays!

For more on this subject listen to Big Illustration Party Time!

Sports Illustrated Kids Illustration

We just finished doing five illustrations for Sports Illustrated Kids magazine and had a complete blast creating all kinds of video game characters! This sample was of John Madden yelling,"Boom!" to Nascar driver, Joey Logano. Created with Mudbox, Modo 301 and Photoshop.

Sketch Pad 01

(Click to Enlarge Image)

Project: Pastry Creme Faces & Logo (Kroger Foods)
I've decided to start showing some of my sketches created for projects. I really dig seeing other artist's sketchbooks--it's a way to see the thought process behind the project. My sketches tend to be somewhat rough as to not waste too much time on specifics and more on giving the client a multitude of concepts. These are some samples for Kroger that I did awhile back. The client wanted a cartoon grandma for a logo mark in their bakery department. In the final, she had a rolling pin in her hand.

Hungry Bear Illustration

Another vector job for Highlights PuzzleMania Magazine. There was a title in the yellow area and copy in the strawberry. I went a couple of rounds on the pencils--discovering that the bear's nose and thick mane are the focal features. The client liked the end result and I had fun doing it! This one took me a long afternoon to complete.

The Wacky Wild West

"Outlaw McGraw's odd approach to gettin' rid of flies buzzing around his horse..."

Creative Biz Note #9

Pulling Creative Ideas from Your Brain

I recently pulled out some old books about coming up with ideas...so, I'm jotting down some notes.

Some quick ways to condition your mind: 1) Have fun and think like a child; 2) Be confident--know you'll find the answer; 3) Combine ideas--I'll explain below; 4) Don't brainstorm alone if you can help it. These steps will help out.

There are five-steps to creating an idea and even though this seems simple--try it out:
1) Define the problem (simple enough)
2) Gather info (go to the bookstore, search the web, etc., ask questions)
3) Hunt for the idea (brainstorm time--break rules--be enthusiastic)
4) Take a break (walk away from your desk or work on another project)
5) Let it Flow (the magical idea should come to life)

Chicago Comic-Con!!! Finally!!!

My brother and I have been waiting patiently and the time has finally arrived---Comic-Con. We're going this weekend and will be spending most of our time talking to the artists and checking out their sketch books. Geek heaven here we come!

Weekly Creative Biz Note #8

Invoices, Bills & Taxes--But I Thought I was an Artist?!

All I can say is,"Uggghh!" Most artists despise even the thought of doing number crunching and taxes. But it must be done and completed accurately to survive as an individual artist or company.

It took me awhile to figure it out but a good accountant can save you a ton of money! I was advised to incorporate as opposed to being self-employed. You negate the self-employment tax and can simply lower your taxes. I wish I had known this many years ago. Also, for small companies with no employees (owners only) a 401k can be opened for as little as $180 per year. You can shelter up to $49,000. If you have one employee, the you can start a 401k this year and qualify for a $500 tax credit for each of the first three years--that's $1500! This pays for the set-up and administration costs. Plus shares in the market are down. Talk to Chuck at Schwab--currently they do not charge for consultation. Another point if you decide to incorporate, there can be inexpensive lawyer and business permit fees but it's all worth it.

Self-employed artists should try to set-up a retirement plan--an IRA, SEP or Keogh. A SEP-IRA helps you save for the future and also defers taxes. You can contribute up to 25% of your income.

As for invoicing and bookkeeping, I recently purchased QuickBooks. It's awesome and user-friendly. I had tried using Quicken and it was above my head and not intuitive to me. It has to be easy or I start pulling my hair out! You can even hire accountants that use QuickBooks to come to your office and teach you--nice! Not that you'll need it though. I watched a few tutorials and jumped right in. Credit card statements load right in from my bank and I now print checks from QBs. I altered the QB templates for estimates and invoices and now I'm more organized than ever. After all my research and swearing, I highly recommend QuickBooks for artists. Look for software discounts. Now, tax-time is a much happier situation--especially for my accountant!!

I'm keeping this short--if anyone has anything to add or has a question--please do so!

Next Creative Biz Note #9---Pulling Creative Ideas from Your Brain
(Feel free to comment or click a reaction box)

More than Life-Size!

One of our 3D characters for an on-going project was molded into an 8-foot sculpture!

Children's Book Art

Here's one of thirteen images we did for an educational children's book. These little guys were having fun bouncing around on the moon. Initially, the kids were to be all holding hands but we had to split-up the group due to the gutter. We decided to show the rough (very rough) sketch we did and some of the spacesuit concept work. Click the image to see it larger. We'll be placing more images on the website.

Logo Selected for LogoLounge Book

Recently, I received notification that one of my logo designs was selected to be printed in the LogoLounge "Master Library" book series. Completely honored. Here's the mark I did for a series of palm games called "Aardvark Foundations".

Weekly Creative Biz Note #7

The Good, the Bad and the Ugly Side of Children's Books

First of all, we're not claiming to be the guru of children's books--and we never will. We've worked on a few books with publishers and feel we have more to learn. We experience something new every time!

Let's start with the GOOD. Children's books are fun to work on. They're creative and the reward of seeing your art in the bookstore can be exciting! During the process you meet your quick deadline for the sketches and it takes the client 3-6 weeks to give you an approval. For educational books, it seems to us that the sketches hardly ever get changed (which is good). So, sometimes we go ahead and start backgrounds and a few of the illustrations to get ahead of our deadline.

Another Project to Munch On!

Recently, I've been busy working on cartoon images for Highlights PuzzleMania Magazine. Here's a small sample.

Weekly Creative Biz Note #6

Be Rid of Non-Paying Clients

I've read too many posts on artist forums concerning the evil client that would not pay-up. It's happened to most of us at least once. Grrrr! Some of those forum stories deal with an artist working on a project for a "friend". First off, don't work for friends or family. If you feel the need, then treat them as a normal client. And if they can't pay your usual fee then barter your skills for theirs.

Before you start a project provide a written statement or estimate--explaining how you work and acting as a letter of agreement.The larger the job--the more detailed it should be. If a client doesn't already have an agreement to sign, then we have them sign the bottom of our estimate. If they won't sign it--take caution!

The costs should be clear and if it changes during the project let the client know ASAP. It happens...that's why it's called an "estimate"--LOL! But be very upfront. Break down your fee into portions or milestone payments. If it's a large cost then third or quarter payments can be good...if it's a small project, then I usually receive half the money upfront and invoice the other half after they receive the files. This can be explained on your estimate. The invoice should be paid by the client within 30 days. Invoice ASAP.

If you've invoiced multiple times and you're not getting anywhere, then make a few phone calls. If that doesn't work, then small claims court may be the next step. It involves filling out forms and a small filing fee. But without a signed agreement your odds are slim. Email documents may help. As I've stated before... cut your losses, move on and take with you the wisdom of never making the same mistake in the future.

The moral to the story...get a portion of the project costs before you begin anything, push for a signature and build a good relationship with the client.

Next Friday--Weekly Creative Biz Note #7---The Good, the Bad and the Ugly Side of Children's Books
(Feel free to comment or click a reaction box)

make custom gifts at Zazzle

SPAR Bag-Designcontest

SPAR Bag-Designcontest

Shared via AddThis

Weekly Creative Biz Note #5

How Do I Find My "Style"?

I pounded my head against the wall trying to find a style that was unique and that I was passionate about. I scoured illustration source books and spent many late nights online. But in the end, it had always been right in front of me.

I started with a cartoon style that came naturally. It wasn't forced and didn't necessarily look like another artist's style. Don't mimic another style. You certainly can find particular qualities or distinct techniques within an artist's style. For instance, I love Douglas Fraser's illustrations. I discovered that it was the bold lines and shadows that I loved the most. So ask yourself," What it is that you "really" like about a certain artist's style?". And then re-create those distinct elements in your own medium.

If you haven't discovered which medium your prefer, then get started! It'll take time, so be patient and push through that "this looks ugly" barrier. Push!

There was a ton of trial and error...I tried out a few styles. I remember spending an entire day just figuring out one small digital technique that I currently use. I've tossed a lot of artwork that didn't make it through my personal critiquing process. Be tough on yourself. And know what's out there.

Then ask yourself..."What type of market am I hitting?" This is important! Is it editorial, advertising or children's books? Don't spread yourself thin but also don't corner yourself into one market. Put your artwork online and get some feedback from fellow artists.

Now, I currently work in two styles and have a very cool third style coming. It's not that I couldn't make up my mind, I simply have the desire to do them all. Is that a good idea? Yes and no. It takes mega amounts of time to keep them going and promoting them is more difficult. But I receive more calls this way. If you can do it, then I say do it! At first, I was worried that clients may get confused but they don't. I never advertise the styles together--keep them separate.

Don't expect to find a style on the first try--learn from your attempts and let things evolve.

Next Friday--Weekly Creative Biz Note #6---Be Rid of Non-Paying Clients
(Feel free to comment or click a reaction box)

Top Secret Villian!

PixelBoy has been hustling behind the scenes. Our incredible client gave us the "green light" to show-off a few of the characters we've developed for them. This villian (plus five super heroes) will be made into an action figure! There will be a ton of promotional materials too. The project is still under wraps but we'll be posting more as soon as we can!
© 2009 Campbell Fisher Design

Weekly Creative Biz Note #4

The Yin & Yang of Source Books

PixelBoy Studio has been busy and so I haven't had much time to keep up on the blogging. Though I'm squeezing this one in...

This week is concerning illustration resource books--such as WorkBook and Black Book. These books are mailed out to 20,000+ potential clients from ad agencies, design and publishing firms--depending on which book. Most resource books include a portfolio site and you will have access to the site once you sign-up. This type of advertising can give you a ton of exposure.

As I mentioned before, start small with your advertising budget. Which really means--have a budget! At times, you may have a sales person call you up and praise your work. It's good to hear but remember they are sales people. Nothing can stop a sales person quicker than explaining that you have no more room in your budget for additional advertising. How could they disagree with that?

If you're just starting out as an illustrator, then don't even think about trying out the national resource books. Your style may change throughout the next few years. We believe that the process in which art directors are finding artists is changing. The new generation of directors are web savvy and don't have the time to be flipping though a 300 page book--though it can be fun. If I needed a vector cartoonist, then why not use a search engine?

The resource book pricing is high. Not every artist can pull out this kind of money. Some believe it to be ridiculous--a rip-off! They may be right. WorkBook is approx. $3500 for the annual/online and $800 for the online portfolio only. They have statistics on the site--which is great. I used WB four years ago and got very good results. We are still receiving projects from our contact made from that initial ad. I currently have my first ad in Black Book--I got a deal on the price and now I know why--the book was printed four months late! It seems to be lacking. The Directory of Illustration cost is approx. $2500 with web portfolio access. Online (only) is not available. We've used them for two years and, unfortunately, had unhappy results. Though we love our sales rep--she was very helpful! How you represent yourself in the ad...the right images...it all has a major effect on the end result. Overall, you're taking a risk. You need to cover your initial costs of the ad and then some.

I've done my research and used free online software that compares the number of visits for all these resource book sites. It changes--so check it out and compare. Don't take their word for their numbers. Watch your google analytics to see what is working. You may make some mistakes along the way when it comes to your advertising but learn what works for YOU and your STYLE. The real questions is," Do the resource books work?" It must for some. I see the same artists going back to the books year after year. Though I would tend to say most probably lose out. If it's within your budget, then you may want to test the waters. A friendly warning though, the water is murky--it can leave you feeling refreshed or possibly cold and it's full of hungry sharks!

There are other resources for online such as theispot.com, altpick.com and many more.

Thanks for reading!

Next Friday--Weekly Creative Biz Note #5---How Do I Find My "Style"?
(Feel free to comment or click a reaction box)

Weekly Creative Biz Note #3

The Life of an Art Director

During my 13+ years freelancing at multiple advertising agencies I worked on many national accounts--such as: United Airlines, U.S. Postal Service, Frito-Lay, KOOL, Lucky Strike, Bally's, LaSalle Bank. Now that I'm illustrating, I have a perspective from both sides. So, I thought this may be a good topic to blog about...for those who don't already know.

I'll start by explaining the creative "ranks". First up, among agencies the titles of artist positions seems to always vary. In simple terms, here's the order: junior art director, art director, senior art director, creative director. The other half of the core team is the "copywriter". He or she will work on concepts, copy and partner with the art director through the entire project. Then there's the "art buyer" who connects the art director with the correct photographer/illustrator and sometimes freelancer. Also, the art buyer will manage the artist (with the art director) and negotiates pricing. A "traffic manager" helps the art director coordinate meetings, etc. with the art buyer, production team or anyone that is involved internally. Make note that some mid-size to small agencies don't have art buyers or traffic people. There can be a multitude of "account managers" on the team too. Typically, one is assigned to work with the art director as the mediator between "art and client". The account person will provide the project details, coordinate deadlines and help sell the concept to the client. So, as you can see...there are a few cooks in the kitchen.

The life of an art director is never boring. There is plenty of stress, late nights, hair-pulling, lack of communication and even tears...yes, tears. I've seen plenty of directors break down. Though when it all goes as planned there is a inspiring sense of accomplishment and you want to do it all over again!!

Most young, fresh-out-of-school, art directors don't mind the late hours. For me, there were plenty of nights that went into the morning--it's part of the job. My day as an art director would start at 9:00am and usually go until 6:00pm. Lunch was sometimes eaten in front of the computer. There are plenty of hours spent concepting, doing electronic timesheets and even figuring project hours/timelines. Three to five meetings during a day wasn't unusual and that doesn't include the countless times people would pop into your office to make their own immediate meeting. From rep meetings to client meetings to gatherings with keyliners. As the art director, you don't always have the time to do the actual work on the computer. Bummer--cause you can slowly lose you computer skills this way! I would have a freelancer or another junior director helping out--that management time would suck up some of the day. Keeping your cool and trying to be organized was key. An art director is bombarded by email constantly throughout the day too. There was meeting maker software that helped coordinate all the team players. As I said,"never boring"!

The process in which a director uses to find an illustrator is a personal preference. There are resource books, the internet or an art buyer. I've had this conversation with quite a few people and it seems to me that the younger generation of art directors are utilizing the internet as their source of finding artists. It's quicker. I'll talk more about this subject next week.

If you have ever had the chance to walk through an ad agency, the creative team cubicles/office walls are covered with art! It's quite a sight to see! All the cool postcards and posters they receive in the mail are inspiring or hung as a reminder to possibly use the artist on a future project.

Thanks for reading!

Next Friday--Weekly Creative Biz Note #4---The Yin & Yang of Source Books
(Feel free to comment, give your experiences or even disagree!)

Weekly Creative Biz Note #2

A Website that Works

By no means am I claiming to be a web guru or stating to have a perfect website. PixelBoy's website is still evolving and still has a few loose ends. Some day soon...

I feel there is no true science to creating a perfect website---it's art. But a few weeks back, I was having a "web discussion" with a creative director friend, who works at a mid-sized ad agency, and she mentioned that recent studies have shown online viewers naturally following an invisible path on the screen in the form of the letter "F". Food for thought---or not.

I've designed quite a few websites in my designer years but creating a personal site was tough. As you float among the multitude of artist sites, learn by asking yourself: Was the site intuitive? Is it well organized? Function over form? Could I view the main info in the browser window? Too much clicking or scrolling? Do not use flicker-like sites to sell your portfolio! It tells the art director that you're not serious about your profession. There are lots of ways to create an inexpensive website.

Your average splash page gets skipped and studies have shown it to be a nuisance. If you have to place a "skip intro" button on the splash page, then doesn't that say something?! Don't do a splash page or animated intro unless it's amazing OR you're selling your skills through the process.

Another good piece of info---A "hit" is a request made to a web server for an object on your web site. The object can be an HTML file, an image or sound file placed on your web pages. A "visit" to your web site represents one unique viewer who has visited your site. 1,000 hits/month doesn't mean 1,000 visitors. I'm usually concerned with visits.

The number of visits to your site is important but don't freak out if it's low at first. One artist could have 1000 visits per month (from surfers) and have no work. The other artist could have 400 visits per month (from actual prospects) and be swamped! Hitting your market/niche and receiving a response is your goal. Give yourself time and always be looking for ways to increase your traffic. Join community sites and portfolio sites. If projects are coming in, then something is working. Google Analytics is a must and is free. You can learn where your visitors come from and how they interact with your site. This will tell you what works and what needs to go. You can find it on http://www.google.com/analytics/. I hired a programmer to drop it into my site...less hair-pulling.

The next time an art director calls on the phone and is buzzing away about a project with four cups of coffee in his or her system. Ask them what they thought of your website--get feedback. I had a creative director once repeat a quirky one-liner from my site. Get their attention! Tear sheet files that can be downloaded are a good idea...the director can print-out your best work in two minutes and make it on time to the new project meeting--possibly getting you work!!

Thanks for reading!

Next Friday--Weekly Creative Biz Note #3---The Life of an Art Director
(Feel free to comment, give your experiences or even disagree!)

Weekly Creative Biz Note #1

Getting the Studio Started

When my brother and I first started PixelBoy Studio all we had were two PC's, one Mac(loaded with software) and a b&w printer. All of it was set-up on the dining room table. I had read and heard from friends that it typically took four years to get an illustration business rolling and it's true. In the beginning, we had no logo, website or blog. We did have an evolving 3D style and I had an additional cartoon style narrowed down. My 15 years as an art director gave me the experience, organizational skills and knowledge that one might need to manage a studio. While Lee brought years of print production experience and 3D software knowledge to the table. But we had plenty to learn by a long shot!

We spent approximately $15,000 to get the (at home) studio situated. We updated hardware and software; bought a color printer; got a lawyer to help get the studio incorporated; and purchased some office furniture and lighting. Also, we found a good accountant through a referral ($800 annually). A good chair is a must (AllSteel or Herman Miller) and a decent keyboard tray for ergonomics (www.humanscale.com). Can you get by without all expensive stuff? Yes...

As for advertising, I believe our budget was too robust for a start-up and I'm not sure it helped. At first, postcards and free/inexpensive promotional sites would have sufficed for the studio. Our advice--don't even think about trying out the national resource books as a newbie illustrator! Your style may change. I'll touch more on advertising options and costs in a later Biz Note.

Next Friday--Weekly Creative Biz Note #2---A Website that Works
(Feel free to comment, give your experiences or even disagree!)

Good Freelance Illustrator Resources

As a freelancer for over 20 years (yikes!), I've read a ton of books and articles on the freelance life and most never completely answer my questions. But one book in particular seems to be worth the read..."The Business Side of Creativity" by Cameron Foote. I wish I had read this book a long time ago. The book is an incredible guide for freelance illustrators. A good portion of the information is common sense but it's refreshing reinforcement.

Another source that I found is http://www.freelanceswitch.com/ I frequent the site and grab what info I need.

I will soon be writing a weekly "Creative Biz Note" for anyone reading this stuff--it may help! The post will be a small notation concerning our experiences and procedures when it comes to the business side of a start-up illustration studio. So, subscribe in the upper right column.

Tiny Trendsetting Store

We recently completed a website illustration for a children's clothing boutique. A city bound up-start that sells very hip kids clothes and shoes. We had a ton-of-fun creating this one! With a slight misunderstanding, our first round of character sketches were too cartoony. So, we were excited hear that we needed to do something that was more "urban". The client was completely happy with the final image and absolutely loved the characters. It took us a solid week of work to complete the project...plus we created the identity mark for the company.
© 2009 Tiny Trendsetters

Fly, Dragon, Fly!

A childrens book cover we created for fun!! We love dragons and this little guy is going learn to fly with the help from a "bug-eyed" friend. I will be creating some typography for the title soon. Gotta go do some real work now!!!

Tasty Lemonade!!

Tasty Lemonade!! We're not talking about a glass of lemonade but the rep agency in the U.K.. We've just signed on with them and will be receiving their expert advice and selling power overseas!!! We look forward to working with the team.