Tips från proffsen om branschen!

Kurser, länkar, skolor, mm.
Inlägg: 26
Blev medlem: 2011-sep-21 8:53

Tips från proffsen om branschen!

Inläggav MBoman » 2012-jun-15 9:27

Tjoho tjohej allesammans! Hittade den här intressanta texten skriven av "Mike Corriero", en av mina inspirationskällor ( check it out) , där han radar upp tips och saker man bör tänka på med den kreativa branschen. Jag tyckte den här texten gav mig en rejäl extra kick att pusha mig sj och använda tiden till 110. (texten är från hans facebook, där han skriver som svar på kommentarerna "To those who asked if they could share this with students or elsewhere, by all means please do. I would appreciate a credit to my name but if you don't or didn't.. I'm not gonna hate you ;)")

Preliminary Design and Setting Time Limits

A few effective exercises to keeping your preliminary work loose while producing a large array of ideas is to do one of two things or both; Draw your rough sketches at the scale of a 1 or 2 inch thumbnail and keep the design simplified to line work only – use larger brush strokes or a thicker line weight. Don’t bother with unnecessary shading or details such as facial features, sensory organs and fingernails.
When starting a design and trying to produce multiple variants with less effort and detail, try focusing on the most important elements of design. Some of the major aspects that delegate how the concept reads to you the artist are the silhouette, the proportions and aesthetic shapes. You can get away with simple line work doodles at the thumbnail scale because your mind will help fill in the blanks; After all, you’re the one who is simply conveying what’s in your mind. To an outside viewer, it might look extremely vague and abstract or confusing, but you’re the creator, you can and should be capable of making sense of the lack of detail.
Viewing your design from afar; or in this case, viewing it as a tiny thumbnail will allow your eyes to focus on the most important and dominant features. Most artists are visually adept at manifesting creative ideas within their minds. The hard part is communicating it on paper. Starting out simple, at a small scale, using loose line work will allow you to focus on interesting proportions and striking silhouettes. When you’ve established those components, you can blow up the resolution and enlarge the one of many thumbnails that really stands out. Odds are, if it looks interesting at a 1 or 2x2 inch scale, the rest will all fall into place more naturally. So use the pose, gesture, proportions and silhouette of the quick thumbnail as a preliminary base to the more detailed design.
Set time limits for the rough preliminary stages as well as the larger, more refined and detailed versions. Provide a topic IE; Underground Dwelling Equine and set time limits for each thumbnail. You shouldn’t spend more than 2 or 3 minutes on a thumbnail and after an hour you’ll have come out of this with 20 or 40 good ideas that you can pursue further. If after a few minutes you’ve noticed the thumbnail sketch is going nowhere and becoming frustrating, move on to the next one. Don’t let it turn into a puzzle for you to solve; that will only keep you there for half an hour or more trying to figure out what to add or how to fix it. So scrap it and just start with a fresh sketch.
If you draw at a larger scale; even providing that the sketch is very loose, it’s still going to slow you down and cause you to get caught up in unnecessary details during the exploration stage. Something that’s helpful whether you’re doing this digitally or traditionally is to create a boxed table or a grid chart. Create 20 or 30 squares/rectangles on a piece of paper, broken up into a grid, in which you can keep your little doodles confined to. Do Not! zoom in and do not start shading. Just come up with a subject or title and begin quickly moving from box 1 to box 2 and so forth until you’ve managed to produce 30 designs within an hour or two at max. This will help keep the creative flow fresh and moving along at a steady pace. This will ensure that the ideas do not become stagnant.
If you begin drawing at a large scale in greater detail, you may get caught up spending hours on a single sketch only to scrap it later because you’ve re-drawn and tried fixing issues multiple times. This is counterproductive; so stick with the very basic essentials of design before you begin rendering, figuring out a light source and a color scheme. It often helps to keep reference material up on the screen, books opened up and propped up around you, as well as imagery pinned up on a board. Surrounding yourself with photo imagery that relates to the content you’re producing will help the creative process. You don’t even need to look at or study the imagery too closely; subconsciously your mind will become influenced by its surroundings and thus; break the creative block.

Freelancing VS. Studio Job

I first want to point out that my experience is entirely based on freelancing for a living. I have never worked a full time job, or an on location studio job. That being said, I do have some advice to offer those who are questioning; "Do I take a full time position with a company or do I try to freelance from the get-go"?

Whether you decide to begin your career as an individual or as part of a team, there are important Pros and Cons to keep in mind in regard to each branch of an art career. It has been my experience through discussion with friends and colleagues, that most artists seem to want to freelance full time; perhaps not right away, but usually later in life it's ideal for most artists to be their own business man. Most well known artists who have worked in the industry for top studio companies will find it easier to branch out into the freelance world for a number of reasons;

1: You have all the experience you need in regard to meeting deadlines, technical know how, capability of taking art direction and meeting client expectations. You'll know all of the important industry terms, what type of assets are necessary and what the purpose of those assets are, as well as seeing how it all works behind the scenes - designing from point A to point B.

2: You'll have the connections, due to working in-house with a studio company, you're most likely going to meet many talented individuals you work with on a daily basis. You'll probably attend conventions, workshops and meetings where other large studios and artists will be attending; Giving you a much better foot in the door to outside networking. This kind of networking will allow you to branch out in ways freelancing can't quite effectively provide. Most of that type of networking/exposure/promotion is up to the freelancer, which is very time consuming.

3: You will have already made a name and reputation for yourself based on the projects you helped contribute to. This will make building a client base much easier and if you've worked with or for certain individuals or companies, they may be more inclined to hire you. Usually - experienced, well known artists, who decide to head out into the world of freelancing tend to start up their own companies. Whether they are a single individual or they hire on a small team of friends to start, they will probably find it easier to work with clients they have known or worked for in the past while they were employed elsewhere.

A few quick cons to starting out as an in-house artist;
1: Contracts, negotiations and promotion may not come that easy to you and you may end up hiring an Agent to handle these things. An agent can help keep you busy but they also take a portion of the profits and you're still not learning the business end of freelancing.

2: If you haven't quite made a name for yourself while working in-house, once you decide to freelance full time, you probably won't have much content online. It's also harder to fill a portfolio with 'your work' and 'your ideas' depending on the work methods of the studio you worked for prior. What I mean by this is that in a lot of cases, you're producing IP (Intellectual Property) that other studios own or asked you to create. Half of the time, your work and renditions of these designs may have been taken from the company you're working for, or you may be designing a variant of another in-house artist. This makes it difficult to build a portfolio that is entirely about Who You Are as an artist and a creative individual. A lot of your work may be derivatives. This is just my personal opinion.

As a Freelance Artist:
It's going to be extremely difficult to get your name and artwork out there, at least in the beginning. You're going to have to spend 50% of your time Promoting, Networking, Understanding Contracts (writing them and reading them) as well as understanding how to protect your rights and your work. Handling taxes is also important and quite different. You're going to need to learn the value of your art, how to negotiate with clients and what are acceptable terms and fees concerning each asset you're hired for - so you'll need to familiarize yourself with your own work flow. This involves, how long it takes you to complete an image, your skill level, your originality and ability to effectively meet the requirements of each job and a huge list of other elements that allow you to properly create reasonable rates.

Pros and Cons to being a Freelance Artist;

1: You'll never have a steady flow of work and your income is not going to be reliable or stable (even your rates per job and asset will fluctuate on a daily, weekly and yearly basis).

2: You can work whenever and wherever you want. Freelancing; Once you've established yourself, will allow you to pick and choose which clients and the type of work you choose to accept. This means you also have the chance to produce work in other fields, pertaining to other subject matter and other companies that you may not have been able to do as an in-house artist. You also have the ability to negotiate rates that suit your experience, skill level and the worth of your work (this includes giving yourself a raise).

3: A big Con to freelancing is that you're alone. You work alone from your studio or home and your experience only comes from working with art directors and friends 'online'. So the creative environment is something that's lacking if you choose that end of the path. This is why it's crucial that you sustain a strong online presence; You need to keep your work flowing down the cyberspace of networking sites, art forums, blogs and you need a professional website.
- There is way too much to explain further, so I'll stop here. I hope this is helpful, again please remember this is my personal opinion/advice and based on my own experiences.
/Other comments
Really good text man, I just want to ad to this, that it is possible to have a steady cash income even if u have your own company, for example, you might be doing a comicstrip on the sid or lets say, you might end up being hiered for your time one day a week doing lets say illustrations for a magazine or teaching photoshop in a school etc. that way you know there are some rent money there. Having that said I´d say in the absolute begining your spending 100% of your time trying to find someone who wants to buy your work, you need to be a salesman too and for that u need some social skills. Getting meetings etc, when people really dont have the time for u. However like u say, Im sure this get easyer if one already made a name for themselves.
Here i am with my lenghtly reply as promised. I'm rewriting this because firefox totally crashed and i lost it.
This is all out of personal experience and shouldn't be taken as super hard facts. Being self-supported from a very early age, i had to both and plan things out in such a way that i would eventually get to the nice part but it took long years to do it, and i'll try explaining how and what i did.
I will try talking to you guys about doing both full-time and freelance.

My career path has been shabby and uncertain at times. I started out in a small graphic design studio doing graphic design, websites, branding, communication and so forth. At that time, my painting was still incipient so i was just practicing a lot in my free time. [having already secretly decided to one day become a concept artist]

After that i went on to work in television. I did both sides of it, preproduction and postproduction and while i was there i tried out everything i could, a bit of 3D, a bit of compositing, editing, vfx, mattepainting, really anythng i could get my hands on. On the side, i started taking on freelance projects in concept art and illustration. Small projects and clients in the begining, low or no cash at all, tons of practice, all of it to get ready for the next stage.

At the moment i work as a full time concept artist and i still do freelance on the side. However, i only do illustration freelance as i'm trying to combine the two areas i equally love and try to set things up so that i can do both every day.


Whichever path you choose, you will always gradually build up things. You start from small and work your way up. You start with small projects and that gives you a small pool of clients and projects you've worked with, then you step up a bit and take on larger projects for more cash and more stress and so forth. Needless to say there will always be good times and bad times.

Inlägg: 26
Blev medlem: 2011-sep-21 8:53

Re: Tips från proffsen om branschen!

Inläggav MBoman » 2012-jun-15 9:37

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Blev medlem: 2006-okt-22 20:51
Ort: Stockholm

Re: Tips från proffsen om branschen!

Inläggav Santis » 2012-jun-21 15:45

Ser intressant ut, får läsa det när jag har tid över. Tack :)

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