Best posts made by Amber Lynn Benton

I'm a farm girl from Appalachia raising a pile of boys in the big city. I drew my way through all the messy days of toddlerhood but hid my drawings in a box. One morning I realized I was turning 40 and all my ideas were in the closet. So I opened the door, dusted off the box, and now I'm trying to find my way.

That's the pretty version. The reality has been pretty messy, lol. I'm currently a part time freelance graphic designer wearing too many hats while also homeschooling six boys! Technically five because the first has graduated! I didn't know where to start with illustration so I began with graphic design and I've been a part time graphic designer for two years (If you're doing the math I'm 43 - I spent a year learning AI and PS and wandering around before hanging my shingle. I've been cutting my teeth and learning a lot. I've gained a lot of digital skills and confidence and really want to marry that with my illustration aspirations.

That's why I'm here in this space - it seems the world is full of one off/topical classes but this feels more like art school. I'm currently taking two of the level 1 curriculum classes and doing the exercises. But just for fun I watched @Lee-White's How to Discover Your Style. What a great class! I'm glad I did that one now in the beginning because it really gives me a clearer picture of where I am and where I want to go.

Here's my edited Dream Portfolio:

Some of these illustrators I'm more familiar with than others and I want to make learning more about them part of the process.

And now for the Reality 'Portfolio':

The first thing that jumped out at me is that I haven't finished any larger more complex pieces - true illustrative scenes. I have lots of sketches still in that dusty box but they're still in the dark. And my second thought was - get busy!

So for this more long term project I have three goals that I'm adding to my workflow. 1) I'm going to pick one of these illustrators to explore in more depth. 2) Complete my first master copy - I've already selected my first piece - a simpler scene. 3) Select one composition from my box and complete that illustration drawing on inspiration and techniques from my Dream Portfolio.

Thanks for welcoming me into this community!

So tomorrow I'm placing an order for my very first postcard - eek!! I'm sending it out to people in both the children's illustration market and the surface design market so I chose a piece that I thought might work as a crossover. And I think I've decided I like little conversation bubbles, lol!

I left one bubble empty so that I can personalize the front of the card.

Who else is with me in sending out your very first cards?

Today I had time to just play. I decided to use a small watercolor sketchbook I have to just experiment with shape, color and texture. Here is my usual watercolor and colored pencil but I decided to add some graphite. My erasing shapes was difficult - it's a small sketchbook and I don't have a tiny eraser. But I just ordered a Tombow micro eraser that should arrive tomorrow!

I just completed my very first master copy. Original by J.P. Miller.

My copy done in watercolor, gouache and colored pencil. No digital edits other than getting scanned colors to accurately depict the original and healing a couple of colored pencil crumbs. My colors are slightly off IRL. My printer slightly cropped the original which is why my clouds are cut off.

I had quite a bit of trouble placing the eye - I should have done a quick value even on the ipad before painting and I would have seen the issue beforehand. I also had no drybrush experience - I like it!

Thinks I learned - I rely more on line work in my work than shape - something to pay attention to. Also, stop when you get tired. It's obvious in the detail work that I was running out of steam. If I was fresh I would have tested my mark making and perhaps have been more accurate.

Things like markmaking and whiskers that are spontaneous linework are very difficult to copy!

I think the next thing I want to do is go into my sketches and pick out one of my original rabbits and place it in a scene reminiscent of this one and complete it in a similar style.

My submission is a book cover for a book I wouldn't mind writing! Thanks to everyone who helped me push this concept and illustration farther - I valued your help!

@Amber-Lynn-Benton Here is the first exercise.

Last night to relax I watched Stephanie Fizer Coleman's newest Skillshare class - Develop Your Style Draw One Illustration Six Ways.

So far I've only drawn two ways but it was a nice way to spend an evening:

Another:

I just wanted to create a place to gather my work for the creative composition class. I thinking posting my progress might help me be accountable. I’ve watched the entire class and am now working through the workbook.

Those are great things to consider @nyrrylcadiz. I also always ask for how a client will use the image. I price things one way if they are going to use it for a promotial banner and another if it's also going to also be used on a billboard, T-shirts, website and stickers. Often a greater usage commands a higher price.

@hannahmccaffery One way to think about it is you are selling them the rights to use your artwork - in this case on posters - your not selling your artwork. This allows you to reuse content - like a character you might come up with or it allows you to create derivative work in the future. In this case if I priced this as a per poster price that price would only be good for posters only - and even a limited quantity or for a limited time - say 2 or 3 years and I retain the copyright. At that time the rights revert completely back to me or we re-negotiate.

If it is a situation in which they are providing copious reference/materials and or they want to completely own the artwork it's a different conversation.

And it's also different if it's totally your work or derived from your existing work or unique style and they want to buy all rights of it forever and you can never use part of it again or make derivative work.

That guild handbook which we're referring to so often is helpful. Those price ranges $500-7000 for instance is a big range. 'And it's because it's a sliding scale - how much flexibility/ownership do customers want with artwork and how in demand are you as an illustrator. The goal is to retain as many rights for as much compensation as possible.

The more you can charge in the beginning of your career the better off you will be - so definitely give more experienced illustrators like @Lee-White wisdom more weight than mine. As I said in a previous post I've been earning an income from my work for about two years. I started out with nothing and did my first projects for free or very little. (We're talking graphic design/logos, packaging, etc.) I didn't have a community and I pretty much learned everything online - Lynda.com and Aaron Draplin's Skillshare classes. This year I am on track to break 15K for the first time - I hope by quite a bit. And I've done a lot of logo work - mostly for small Mom & Pops - which is why I've never found a $15K logo job. It sounds like so little when I write it out and think about all the work. But I also only work part time - I homeschool my kids and work in the fringe hours. It's been a long slow climb but my skills have gotten better and my income is growing. And that extra $1K a month means a lot to our household budget.

One of my problems until recently was confidence in my work since I didn't have a degree or any previous experience. Last year I began going to some local events hosted by my AIGA and my work (graphic design work) was respected by local designer and agencies I looked up to. I worked on a team for Make A Mark this year and our project was nominated for an AIGA award. Those events have brought me more connections locally and more work.

But that confidence is beginning to make me bolder in pursuing illustration rather than just graphic work. Now I'm working a ton trying to grow my illustration & drawing skills and get a small portfolio that I'm proud of together - that's why I'm here in this space!

Hey, all!

I’m considering entering the Mermay contest and wondered if any of you would look at my thumbnails. I would like a book cover in my portfolio and thought I would give that a go.

The concept I Ianded on is a nonfiction historical picture book of the mermaid exploring both the dark and beautiful. I have three different attempts to convey that visually.

I would appreciate any and all feedback before taking one of these ideas to comp.

This topic seems to be a fairly common thread in the podcast series and I thought I would share this post by one of my favorite illustrators Jago Silver.

He shows the setup he started with when he began The Jesus Storybook Bible which launched his career and his current set up almost 13 years later!

https://www.instagram.com/p/BwZPZfeAZC0/?utm_source=ig_share_sheet&igshid=eoftemymflax

My first master copy. J.P Miller on the right (because someone asked) and my copy on the left.

Copy done in watercolor, gouache and colored pencil. My printer cropped 1/4” all round which is why my copy is cropped.

The drawing upside down trick from @Jake-Parker ’s Draw Everything really helped me get those silhouettes as close as they are. I had a lot of problems placing the eye and had to correct with white paint. I feel like I would have caught this if I had done a value study instead of just a line drawing.

I’m currently working on a portfolio piece inspired by this one.

Here’s my latest Creative Composition worksheet. I really kind of like the last one.

Here’s a thumbnail for a piece I’m considering completing inspired by my master copy. The trees in the background will be blueberries. I’m feeling that the composition is likely too close to the original for comfort in my portfolio, though. Thoughts?

This was lovely to flip through! Thanks so much @Chip-Valecek !

Thanks for the eyeballs guys. I slightly enlarged Moley and they are all printed and on their way!

@Amber-Lynn-Benton Even though I know my perspective is off here I enjoyed these problems. I really like value thumbnails!

@Lee-White And I'm going to agree with your disagreement, lol! I should have used more specific language - I meant business expenses only - CC subscriptions, studio rent, paper/supplies if you track those costs, etc. In other words your overhead.

I know that as illustrators grow in their careers you move away from hourly or daily rates but when you are just starting out (or two years in like me) they are extremely helpful in making sure you have your bases covered and aren't moving backwards.

The graphics guild says that a poster would be priced anywhere from 500 to $7,000. I like the guild handbook but it can be confusing to use those prices when pricing your first job. Posters aren't listed in the table of context or in the index and you have to know to find it in the retail product table along with greeting cards. @nyrrylcadiz I recommend it but it takes some time to get familiar with.