Jake makes the subject matter very approachable. He does most of it on paper, with pencils, pens, and markers so there are no technological barriers. A big advantage of the class is that you get to see him draw all of the concepts in real time. There are plenty of demos that help put the concepts into real life application.
Thanks for pointing that out. That was one of the big reasons I wanted to reboot this class and to do it on paper to show that this stuff is approachable with just a pencil and a sheet of copy paper. Thanks!
It is not the most glamorous or fun subject matter...
Nope, but it's the necessary first step. Just because drawing is fun, or it's your passion, doesn't mean it's not going to be hard to master it. Glad you brought that up too.
@Will-Terry A few more things occurred to me after I posted the previous comment:
Another area of distinction would be contracts with art & lit agents (also the flow of legal responsibility between all 3 parties of Client, Agent, Illustrator, particularly with client-to-agent/illustrator contracts)
One highly specific question I have always had is regarding contract points/obligations between the illustrator and an ad agency that are not conveyed in contracts between the agency and the end client. If the end client is not aware of something like usage restrictions (duration & region, and consequential costs to any expanded use) and thus do not hold to the illustrator’s agreement with the agency, how is this resolved (or prevented from happening in the first place)?
There are a few other things that might be good to touch on given the breadth of experience levels of the audience:
Contracts often have moral clauses, which has implications upon the illustrator and any displayed illustration work or accompanying text the illustrator posts/prints/etc., particularly in relation to the end-client
There are often restrictions upon what can be shown and when it can be shown, along with restrictions on information shared with others (especially competitors of the client).
Conflict Resolution. State/Country of arbitration, financial & other responsibilities upon the illustrator, etc. With this is also the reality that a contract does not prevent abuse/breaching of that contract by the other party; however, litigation is costly (financially & relationally), even when “you are in the right”. Thus, there are some hard realities that might need to be addressed.
When sharing with a friend about this upcoming webinar, I realized that I overlooked a key part to this webinar's topic: "publishing contracts" - So, I suppose much of what I wrote in these 2 posts is irrelevant to the topic at hand... oops — haha — Well, perhaps there's some nuggets in what I wrote that may be they'll help formulate parts of an outline anyway... Regardless, thank you so much for this topic!
@Will-Terry Thank you - if I can submit, say, a new detailed sketch + value study rather than a final polished piece by May 4th, that would be much easier to commit to. Just working on the challenge so far has been really worthwhile (it's made me think very carefully about values and grouping things), so I'm sure it would be a great thing to sign up for!
Just wanted to announce a new class that we're going to be recording in a few weeks! I show my process for using acrylics to create illustrations. Been a long time since I rock and rolled but it's finally finished - here's a sneak preview... :) ![0_1470256645801_frog.jpeg.JPG](Uploading 100%)
@Will-Terry Can you let me know if this is working. I think I need to work on the pose of Santa to get a better gesture and better direct the eye to the second page. I am also curious how to treat the gutter. I am afraid of putting anything there, but now feel the composition is disjointed. I would love your opinion. Thank you for your time.