I think this is going to be really helpful. Thank you for that!
Question: for booth layout. What size do you think the booth should be if I want to do art at the table? I know I personally like to see other artists working. Is it even a good idea?
I JUST found this podcast... derp. I lost my login for the forum even though I have been a long time supporter of SVSlearn - so I didn't see the podcast. NICE guys! This was my first episode and I see, in the content, the folly of many of my contracts. The pitfalls are real. I wish I would've listened to this years ago to save the heartache!
That being said, the worst day as an illustrator is still better than the best day digging a ditch.
Time to marathon some podcasts!
@geoffrey-gordon Welcome! I’m a beginner here too. I have been watching the introductory SVS courses. The thing I know I should do better at this point is spending time practicing. I think I will start doing the monthly contests and posting work-in-progress images. I’ve seen that the forum users give great feedback on work-in-progress images. Since I’m just a beginner I don’t think I need a website now, but in the future I might be interested in your website design offer. Thanks!
I love this podcast... I feel like a complete newbie coming into this field many of the replies above already have so much of art that is so good. I run my own web development and graphic design business and am getting kind of tired the technical aspects of that so I am only just getting into drawing again. I did a lot up until I was 20 years old and then nothing for the last 17 years. I am only now getting back into it again. Starting at age 37....
I grew up with no tv from a kid until like 20 years old, so I read many, many, many books. My head is full of ideas and creativity and I am hoping I will find direction and a place to finally release the many stores in my head. There are so many good illustrators on this forum I feel quite intimidated...but inspired as well.
Such good advice in this episode, plus I am glad I joined svs learn. I am going to devour everything in the online courses and learn from the masters. I already have a thick skin for critiquing in my current profession. So I am ready to be humbled and learn from the bottom.
Good episode - a bit heavy on inktober challenge stuff though.
I recognize that I am posting a lot of really bad art but my goal was completing 31 drawings in a month pushing myself to coming up with a creative approach to the prompts (granted - not always successfully). Pushing those unused imagination muscles when I can.
I have already decided that I will be working on the draw 50 things challenge next. I love those complicated images on jigsaw puzzles (wasgij type) and always wish I could create something like that.
Looking forward to next episode!
Lee mentions (I think it was this episode, I just listened to a few in the car) doing art fairs. I was wondering:
How much art do you need?
Do the different fairs have requirements for this?
@jake-parker Hi. I just listened to this podcast, and about what Will Terry mentions, the thing about students who don't participate, I think this Ted talk can be very interested for you and perhaps you can use some of that techniques when you are teaching:
Thank you guys for what you are doing!!!!
@teju-abiola Yeah. I'm fairly certain that was a Philip Glass story (he was a taxi driver and a plumber who had at least one run-in with a critic while installing a dishwasher). The point still holds up, though!
More information from IP attorneys on the topic of fan art from attorneys who are much more flexible in their interpretation of this fundamental infringement:
This is a shorter podcast so it's worth listening to the whole thing (kind of a Copyright 101 in the first part of the podcast) but they really begin to discuss fan art issues around the 15 min mark.
Jake, Will, and Lee,
I love the podcasts, guys. I listen to them on my drive to work.
The discussion you had regarding critiques brought my thoughts to those negative critiques I've read about the works of other very accomplished artists. Norman Rockwell comes to mind. So does Thomas Kinkade, Salvador Dali, Vincent Van Gogh, and even Charles Shultz.
The critiques of all of the above mentioned, well known, artists' work has been ruthless. And yet, after their deaths their works are revered. (And, yes, I've even been to a Charles Shultz exhibit at an art museum.)
I sat next to a guy at a baseball game some years ago and he was yelling the most horrible insults at the guy playing right field. His sentiments were clearly reflecting his loyalty to the opposite team and he had, in no way, any interest in furthering the skills of the player.
If a critique is to be constructive, as it should be, then the real question is how do we know, as artists, if the critic offering the critique is doing so with a teacher's heart and genuinely interested in helping the artist improve? If so, then the next question is, "How do I use this information?"
Critiques can be critiqued, too.
Just yesterday I was at a restaurant. It is a "sit down" restaurant but they also offer an "all you can eat" salad bar. The two women across from me were loading up on the salad bar. I mean their plates were piled as high as Richard Dreyfuss's mashed potatoes in the movie "Close Encounters."
When they couldn't stuff their faces any further they asked the waitress for a "take out" box. The waitress informed them that "take out" boxes are not offered for the "all you can eat" buffet (after all, it is NOT the "all you can eat AND THEN SOME" buffet!).
So the ladies became angry. They asked for the manager. I heard them telling the manager that their waitress was rude and unprofessional. (I had the same waitress, by the way. She was as sweet as can be.) Then I saw one of the ladies writing something very wordy on a napkin. Oh my gosh! The waitress was going to be reading a horrible critique!
Horrible and horribly self serving.
I felt bad for the waitress. Would this cause her to quit? Would this ruin her day?
So, focusing back on art, I knew a very talented portrait artist. He worked in pastels. He had an easel set up at a local art supply store and I used to watch him work. I learned a lot by just watching him.
One day I asked him if he was part of the local Artist's Guild. He said he applied but was rejected. I asked why and he said they told him his work was too "photo realistic." I knew what they meant. His work was VERY photo realistic. But it was also beautiful and I'm sure the people who have his works hanging in their homes think so as well.
Here's the part that gets to me. That same Artist's Guild invited a portrait artist from New York to show his work in their gallery for a full month. Among the oils were also some pastels. Brilliant work, no doubt, but why did the Artist's Guild dismiss the talents of the local artist at the art supply store?
I guess my point is this. As artists we must simply create. We're never going to please everyone anyway.
One last thought, in Harry Chapin's song "Mr. Tanner" he tells the story of a baritone that sang beautifully. He worked as a tailor as his day job and saved up enough money to rent out a performance hall where he gave a concert. The reviews in the newspaper read, "Mr. Martin Tanner, Baritone, of Dayton, Ohio made his Town Hall debut last night. He came well prepared, but unfortunately his presentation was not up to contemporary professional standards. His voice lacks the range of tonal color necessary to make it
consistently interesting. Full time consideration of another endeavor might be in order."
Harry Chapin then writes, "He came home to Dayton and was questioned by his friends. Then he smiled and just said nothing and he never sang again,
Excepting very late at night when the shop was dark and closed. He sang softly to himself as he sorted through the clothes."
If we truly are made in God's image, then as children of The Creator, we must also have a natural desire to create.
If you are creating, then keep it up.
You three gentlemen are making a great contribution to the lives of those you touch. Even the assignments you illustrated that you "hated" doing has given great joy to those who have seen your work.
Thank you for what you do and thank you for sharing your wisdom and guidance with young people aspiring to become as great as they can at their craft.
Remember, just before dying, Leonardo Da Vinci said “I have offended God and mankind because my work did not reach the quality it should have.”
@zombie-rhythm said in EPISODE 08: YOUR CREATIVE BANK ACCOUNT:
Because people with this talent draw without difficulty, they draw a lot and continue drawing because they have results and have fun. I don't say it can't develop a little the more you draw, but I don't see significant changes on artists. Good artists were good from the start and "bad" artists were "bad" from the start.
I disagree. I've seen too many artists that draw and paint horribly become epic fantasy painters within years, and on the flip side I've seen many "good" artists unable to draw from the imagination after years of being "good". The difference is the type of studies they are doing. Certain type of studies can drastically improve your art, even if you aren't putting in as much time as someone who draws 12 hours a day. Of course it will go a lot faster when you combine the right studies and lots of drawing/painting time.
What do you think of someone like Noah Bradley? Look at his examples of his academic drawing- pretty decent. But his attempts at fantasy were pretty bad. After about 5 years or so of the right mixture of study, he drastically improved his work. You might not agree that he's at Frazetta level, but I think it's impressive.