Here's my attempt
P.S. Sorry it's blowing up so big in the forum. Not sure how to fix it.
Here's my attempt
P.S. Sorry it's blowing up so big in the forum. Not sure how to fix it.
If you have a subscription to any Adobe creative cloud programs then Adobe Portfolio (portfolio.adobe.com) is a great free option. You can add a custom domain name if you purchase one elsewhere and I think they look/run really smooth since they're designed for artists. Very easy to use. Here's mine for example www.juliekitzes.com
So after much hesitation because I don't think it looks as sharp as having one gallery, I finally decided to make categories for my art since I do so many different things. If you have a minute I'd love a quick critique. If you think anything is lacking or miscategorized please let me know. I do plan to create some new work for the categories that are a little more sparse. I haven't been getting the response from people I was hoping for with my last site design so if it's not my website I fear it must be the quality of my art.
I'm also interested in editorial illustration. It's not really the same thing as SVS learn,but there's a blog called Dear Art Director where you can anonymously ask illustration industry questions and get replies from real art directors. I've found it to be a useful resource for my editorial illustration questions. I wish I had more precise resources to share but if I ever find them I'll certainly share them here.
Hey SVS community,
My question is - does anyone else struggle with commitment issues as an artist. I have a plethora of ideas for books and projects I want to do, as well as having started on some of them, but inevitably I lose steam and seem to get distracted by a new shiny idea. It's not that I wasn't excited about the first idea - I'm still excited about all of them, I just get more excited about newer ideas. How do other illustrators (who aren't being paid and aren't being held accountable to someone - I'm talking personal projects) see a project from beginning to end?
I've thought about making myself a schedule and timeline and due date, but this whole concept seems beyond my executive function and I don't even know where to start so I tend to dive in impulsively which may be contributing to the problem.
Any advice or thoughts would be appreciated.
@Braden-Hallett Mine are a single image on one side and then on the other I have my contact info (name, website, email) on the other side and then some blank space for a hand written note. I like to personalize them for every company/art director I send them to.
@IanS I really like your original concept. It has more story telling involved than the newer version. The first one is so obvious that the man is in an ice cream cone whereas without the hungry ice cream character the concept may be lost and just look a bit more like a graphic element decision. The big thing that I don't like about the composition is that the window panes divide the illustration in half without a lot of overlap. My quick remedy would be to incorporate the arms of the ice cream character so that he's eagerly reaching into the window (either with open hands or a fist full of cash?) It would help bring both sides together into a cohesive image and add some more depth to the piece. Additionally you might kick out the leg of the man in the cone that is currently pointing down to add another point of over-lapping. In general I think it's funny and cute and is a very clever and well communicated idea.
I'm brand new to this community and this is my first post. I'm in a bit of a panic mode and could really use some advice from other illustrators and designers out there.
So something I keep hearing from everyone in the industry is that you need to know who your audience and dream clients are. My problem is that I enjoy so many different subjects, styles, and mediums, and would go crazy to limit myself to just one or two niches. I like doing realistic portraits, horrific creatures and monsters, scientific illustration, simple graphic work, cartoons and kid-friendly work, and everything in between. Therefore I have a lot of audiences and my dream job is being a freelancer who can work on this wide variety of projects for different clients.
Despite my best efforts, my portfolio and social media look like a bit of a mess and like the work was done by a bunch of different people. I currently earn some side income through a variety of things: editorial illustration, graphic design, being a part time tattoo artist, and selling my work at art festivals; but I’m nowhere near “quitting the day job” level of illustration. I worry that my all-over-the-place approach makes it seem as if I don’t have my own style (or that I have 10 different styles?) and it makes me less hire-able to prospective clients because they don’t know what they’re going to get, or if a children’s publisher visits my work and they see a demon sitting on a pile of bloody bones that it will put them off even if some of my other work is perfect for them.
Is it unrealistic to be this Jill of all trades? Should I limit myself? Should I create different websites and social media pages for the different sorts of things I make? What about when things over-lap?
I graduated with a BFA in illustration in Dec 2017 and my school experience was generally positive. I excelled in my classes and my instructor’s expressed to me that I was doing good work and told me they had no worries about me getting work and succeeding in the real world. However, since graduating I feel completely scattered and discouraged, and am constantly worrying that I’m doing everything wrong. Any advice? Does anyone else have this insecurity?
I look forward to pouring through these forums and getting to know everyone!
I think it's really nicely done. I like the composition and idea, your animals/figures are really cute and full of character, and I like the textures you've got going. My one suggestion would be to up the contrast a little (particularly darken some areas in the background like under the van and behind the animal characters) to make the firelight really pop. Additionally I might give the van a specific shadow or reduce the lighting on the bottom of the wheel or something because it's giving the impression that the van is sort of floating and not grounded.
@smceccarelli Ha ha, that may be true but at least you're giving off the right impression to outsiders. That's a very good point about identity. I think especially with things like Instagram I get caught up in the "hey, look at all the things I can do and look how often I'm doing it and don't stop looking at me because I need to stay on everyone's radar all the time or you'll forget I exist..." I'm very quiet and chill in real life but when it comes to art online I become that kid in class that won't shut up and needs constant attention and validation. I think it's because I'm at a point where I'm putting a lot of work in to my art and marketing but not getting enough jobs and my massive student loans from art school are weighing heavily on me. I work hard, but I need to learn to work smart.
This is my first time trying to enter an SVS contest. Resurrection and ink? How could I resist. I'd love some critiques both on the narrative of the illustration and the technical aspects. I'm feeling like maybe I should do it over with a less messy inking style? Try to keep it cleaner and pay more attention to light sources? What do you think? Does the story come across clearly? Any advice would be greatly appreciated.
@smceccarelli Hi Simona,
Thank you so much for the feedback. It's a great relief to hear I have consistent mark making as this is one of the areas I was panicking about.
The more I've gotten into tattooing the more I've begun to hate the entire industry because there's so much drama and resentment among artists, so I don't really see a long term career there. By contrast the illustration community is one of the most supportive I've ever encountered.
I also agree that my work isn't particularly suited towards children. I've had people tell me it is to which I never understood but tried to lean into (very unnaturally) so it's good to know I'm not crazy. Ha ha.
I guess I'll make it my goal at the moment to research companies that would be interested in licensing my type of work (because I'm not really the American Greetings type), and trying to figure out how to narrow down my market to at least a range that I can dedicate marketing time towards.
Thank you so much for your thoughtful feedback. I really appreciate it.
P.S. Checking out your website now and am very impressed. You're a role model for consistency and I'm going to use you as an example for myself of how to build a targeted portfolio.
@Whitney-Simms These are adorable. I especially like the spacing on the sushi one. Congrats and good luck!
@andrewgthomas I graduated with a BFA in illustration about 6 months ago. While I was in school I took on a hand full of freelance jobs and honestly I think it was crucial. Not only did it build my confidence so that when I graduated and took on other gigs I didn't have that fear of "oh god, I've never really done this before", but additionally I had some really great supportive instructors who I was able to approach for their insight on various things. I showed thumbnails to one teacher before presenting them to the client to get his take on how I could present my best work in the early stages, and on a different project when I had some communication difficulties with a client, I had a teacher who was happy to listen and offer advice. If you're in a program where you're able to forge real connections with your instructors and be their genuine friend, they're often happy to lend an eye to look over things or make sure you're not going to screw yourself over with certain contract terms.
The thing I imagine this fellow is saying is to not get ahead of yourself and think you're all that and a bag of potato chips just because someone is paying you. If you're able to remain humble, acknowledge that you're still learning, and it won't take time away from your studies then I would say go for it.
The biggest thing I've learned since graduating is that I didn't feel like I was ready, and probably never will. We continue to learn and develop both our artistic and interpersonal skills the more we practice them, so I'm a big supporter of 'fake it til you make it' as long as you're putting your best effort into everything you do.
@tessaw Hi Tessa,
Thank you for having a look at my work. I'll be sure to focus more on the subjects I'm putting out there. I really like the idea of doing a tarot card deck now By the way, I had a look at your instagram and you could fool me - your work looks very professional and I would not have been surprised to find out you work in animation or story boarding. Your Inktober compositions are really impressive.