Showing posts with label art business. Show all posts
Showing posts with label art business. Show all posts

Thursday, May 18, 2017

LIVE ProjectCast with Dan Dos Santos









Click here to get a free reminder email: https://www.crowdcast.io/e/projectcast-dandossantos/register



This monday 5/22/17 at 1pm EST, Drawn + Drafted will be hosting a live conversation with our fearless leader, Dan Dos Santos! It's free, and you can pre-register now at Crowdcast, where you can post questions in advance, or vote up questions already posted.



So what's a "ProjectCast" you might ask? Well, there's lots of fantastic art podcasts out there, but at Drawn + Drafted we're focused on business and getting projects off the ground. We love passion projects and want to know how people (all kinds of creatives, not just illustrators) take a passion and turn it into a side hustle, and even into a full time business. So each Project Podcast will be centered around not only the creative's work, but specifically drilling into projects they've created and made real in the world. We get into the details people tend to gloss over, like mental health, finances, networking, marketing, and proposals.



We're recording them live on Crowdcast so the audience can interact and ask questions, and you can go back and watch the previous Projectcasts there. We're going to be editing them down into a traditional podcast format, but for now check them out on Crowdcast:






















Kyle Webster of Kyle Brush














Tomorrow 5/19/17 at 4pm EST: Jon Schindehette of ThinkGeek and Art Order












Follow Drawn + Drafted on Crowdcast, or Like our Facebook page, or Sign up for our newsletter to be informed whenever we schedule a new Projectcast.




Tuesday, May 16, 2017

If It Sucks, Do It Again




-By Scott Fischer









Sounds simple, right? If something is wrong, make it right. But lets be honest. Sometimes as artists we kinda suspect an area of our painting isn't as good as it could be. Maybe we don't know how to fix it? Maybe we show it to some folks, and hope they wont notice. And if they don't notice, we are like, "Sweet, fork that shiz because it is done!"



And if they do notice, we are like the kid caught with melted chocolate on his hands before dinner.



When a painting or even a sketch for a client has already been approved, it is sometimes tougher for us to act on our instincts to improve a piece. Even if you know it could be better. I ran into this in my early days of illustrating. There would be a poorly drawn hand in the approved sketch, and I felt tethered to that crappy drawing, like they would get mad at me if I made it better. Sounds crazy when I type that, but man those approved sketches felt like hand cuffs. But eventually I just made it better, and you know what, most times they didn't even notice. But I noticed.



We all make mistakes. We won't catch them all. (And it helps to have a bad-ass critique group that can catch the mistakes we missed.)



So here are a couple of my re-dos.



(Disclaimer- I don't claim to be the king of likenesses. They are tough. Even if you trace a likeness it can be tough to capture it. My hope is to get it close enough that when the title is blasted over it we have no doubt who the character is, lol. But I do my best, even if it means redoing it.)



This was the final art for Angel & Faith issue 5 (season 10). It was approved as you see it.







It didn't totally suck, I like a lot about this one. One of my favorites in many ways. Except dude, Angel is such a blubbering baby in this version.



Get that lil guy a diaper and a warm baby-bottle STAT. (Full of blood of course. (The bottle you sickos.)) I mean I get it, Angel is a 'Weight of the World' player most of the time, but come on. Try to get a little bad-ass back in there.







This was oil and acrylic on Duralar, already done and approved. Traditional art. A pain to fix. So what did I do? I attacked it with nail polish remover and redid it.




























That felt better... Fork it!











It isn't the only time it has happened to our favorite brooding blood-sucker. Somehow he got a bit too much Alec Baldwin in Angel issue 3 (Season 11). Again, traditional art. Pain to fix. Out came the nail polish remover.









I grabbed a little vid of the destruction and reconstruction...







Fork it.







Both of these were self imposed changes. On work that was already finished and approved.



It is about taking ownership of the work. I reached a point in my career where suddenly I wanted the art to be improved FOR ME. Not just for the client. And my stamp of approval on my work became as important as the client's approval. I think we need to be selfish like that to make our best art.

Wednesday, March 29, 2017

How to Talk to Art Directors IRL (Spectrum Live 2017 Edition)


By Lauren Panepinto



I've been art directing book covers for over 10 years now, and hands down the number one question I get from artists is always "How do I approach art directors?" And while email is nice, and postcards can be great, but the best way to meet and interact with art directors is in person. At industry events and conventions, art directors show up to meet new talent, connect with artists they already know, and do a lot of mentoring via portfolio reviews. If you've ever been to a convention like Spectrum or Illuxcon, you know ADs are pretty constantly reviewing as many portfolios as they can between sunrise and when they collapse back into their hotel beds. Art Directors know how impactful direct feedback can be to artists, and we try to make ourselves as available as possible.






Who us? Intimidating? No way!






But meeting in person isn't as safe and easy as shooting off an email or mailing a postcard is. You have to interact with ADs, and that can be scary. Although I know most of the ADs that go to cons are there to help artists and be mentoring, not harsh and judgemental, it can still be incredibly intimidating to walk up to us and ask for your work to be reviewed. If you are the type of person who deals with social anxiety, that can be even more difficult.



That's why, in my four years of writing this column on Muddy Colors, I've tackled this issue in multiple articles:



Approaching Art Directors



The In-Person Portfolio Review



Physical vs. Virtual Networking 



In the past, for most conventions, portfolio review sign-ups in advance have been kind of inefficient. There's always a mad rush, servers always crash, and artists are somewhat randomly assigned to ADs because they're just trying to grab any reviews with anyone they can. At the last Spectrum Live, Marc Scheff & I tried an alternate system, where artists signed up for a few ADs at once, and we painstakingly went through portfolios and matched artists to ADs that fit their work styles and desired fields. Although it ended up in closer matches in the portfolio reviews, it was more work than reward in the end. However, what did seem to work well was the Art Director Lounge experiment. A space was set aside for ADs to sit when they were available to review portfolios, and artists either waited when the AD was there, or met them on the show floor, and decided a time to meet the AD back at the lounge area.









Spectrum Live is back at the end of April and I am excited to report that there are going to be no portfolio review sign-ups in advance. And that's going to be a great thing for artists. Spectrum has expanded the Art Director Lounge area, and now that AD's aren't going to get burnt out by doing hours of portfolio reviews back to back, we'll be much more available around the Lounge and the show floor. I believe this will result in artists being better matched to the ADs for them, as they will be able to approach the ADs they are specifically interested in talking to. It will also allow the ADs more flexibility to shuffle artists around between them, as often happens. An artist will start talking to one AD, and they'll say, you know what, this other AD would have great advice for you, or they would really be able to use your work, tell them I sent you.







Here's the floor plan for this year's Spectrum Live, and you can see, the AD Lounge has been expanded into an "Art Director's Aerie" (how exciting!).





If you're going to be at Spectrum, and you want to get some portfolio reviews from art directors and other artists, here's my advice:



�Read the previous muddy colors posts I linked to above



�Download the "Getting you Hired" Drawn + Drafted Bootcamp onesheet



�Remember that Art Directors at cons are expecting you to come up to them and want to talk about your work and ask for portfolio reviews. Just be polite, slowly work your way into the conversation, or wait for a break or catch them alone, and ask. We'll either look at your work right then and there, or if we're busy at that moment we'll work out a time to meet you later.



�Always have cards or postcards to hand out in case you don't get a chance to have a review with every AD you want, you can still give them your card.






Download the onesheet here.



If you're not going to be at Spectrum, bookmark this page for the next convention or industry event you're going to, and remember, there's nothing to be scared of. The worst thing that could happen is you have a slightly awkward conversation, and trust me, us ADs are used to it. And we're awkward sometimes too. It's better to ask and get that portfolio review and conversation you were hoping for, rather than letting your fear stop you.



See you in Kansas City!










Wednesday, February 22, 2017

The REAL Cost of Running a Kickstarter


-By Guest Blogger: Sam Flegal











In March of 2016 I ran a successful Kickstarter to fund my book �The Illustrated Havamal.� With the help of 472 backers,  I raised $35,108 for the project.



As I was running the campaign, I spoke to Dan Dos Santos about the idea of writing an article on running a Kickstarter and submitting it to Muddy Colors. Dan's response was that everyone wants to do an article about running a Kickstarter, and there are tons of them online already (go ahead, do an internet search, he�s not wrong), but there are very few articles about what a Kickstarter looks like on the back end. Dan said "I�m way more interested in the real cost of running a Kickstarter."



I imagine if you�re still reading this, like Dan, you're interested too. So here it goes�






FEES



For starters, Kickstarter takes a cut and the credit card processing company takes a cut. For simple math, it�s about 10% total. That means out of the $35,108 funds raised, I'm only actually getting 90% of that.



New Profit Total is: $35,100 -$3500 = $31,600.






PRODUCTION TIME



After that you need to get moving on production. I�m lucky because my wife is an amazing graphic designer, that means my time and her time weren�t hard costs. But believe me, we put in a lot of time! I spent 6 weeks working on the illustrations for the book. My wife spent a month on design and layout. I spent a month prior to the Kickstarter planning it and a month promoting it during the life of the campaign. You will pay in time.



Total time expended so far: 600 hours






PRINTING







Once the layout was done, and the Editors gave it their approval, it was time to print.



I sold about 500 books via Kickstarter, but I wanted extra to sell online and at conventions, so I ordered 2000 books. Because we were printing using offset printing it wasn�t much more expensive to add the extra books. If I�m remembering correctly it was the difference of about $2,000 to $3,000. The per unit cost changed dramatically though. For 500 books it was around $9-10 per book. At 2000 books it�s about $4-$5 per book. I also had to pay to ship those books from China to the USA, all said and done, the total cost for printing and shipping was around $12,000.



New Profit Total is: $31,600 - $12,000 = $19,600.



At this point I entered printing limbo. You start to deal with printing problems, and proofs. You have to wait for the proofs to arrive from China. You have to send them back a signed note with any changes. If there are problems (and there were), you have to repeat all this until your project is right.



Remember you don�t want to rush all this stuff. You want a kick ass book that delights people when they see it. It�s the same idea as when you�re working on a painting, �Delight your viewer.� All this took months. From May until October I worked on all this stuff. Back and forth with the printer. I�m VERY happy with the book and the printer I used, On the Mark. They are great, but things crop up. During this phase of the process you are essentially a Project Manager. People get paid good money all throughout the world to do all this stuff for major and minor brands alike. You will be doing it too, but you're not getting paid for it. That said, it�s not constant. Every week you will spend a couple hours keeping up with your project's production.



Total time expended so far: 625 hours






STRETCH GOALS







Another part of Project Management was the extra stuff offered via Kickstarter rewards...



 -I offered 2 small prints to go with the book. Those prints cost me $150 to have printed.



 -I did a small sketchbook as a companion book. Those cost another $250.



 -The Collectors Edition needed bookplates, and I did a sketch on each bookplate, that was $150.



 -We made T-Shirts, that was $835.

(By the way don�t do T-shirts on Kickstarter, keeping up with sizes is a nightmare! I�m serious, DO NOT DO IT!)



 -I had silk screen limited edition prints made for another $800.



 -We also had custom hand carved drinking horns, that was $900!

(Those drinking horns are sweet though. Zero regrets on those.)



If you can create a unique item that fits your project as a custom thing without adding a ton of cost, go for it!



Total extra item costs $3,085.



New Profit Total is: $19,600 - $3,085 = $16,515






DELIVERY







Finally I received word in November that the books would be shipping. They arrived in California and made it through customs by the first week of December. A truck drove them from California to my home town of Nashville, TN by the 18th of December. Another truck delivered the books from the Nashville warehouse to my house on December 23rd. Two freakin� days before Christmas!



Now let�s be clear about what this means. I am about to spend another big chunk of money on shipping and supplies. I want all those expenses to go on my taxes for the year so I don�t get taxed on money I never really had. That means we have until December 31st to ship 500 orders. Also in that time we have holiday travel and time with family, and the post office will be closed for several holidays in that week as well. All this considered we had about 5 days. That means we had to ship 100 orders a day. My wife and I did it, but we pulled 12 hour days, turned our house into a shipping center, and I signed about 300 books. My mom helped by watching our kid, thanks Mom!



Total time expended so far: 745 hours



When I say that I turned my house into a shipping center I also feel the need to clarify what exactly had been shipped to my house. Of course it was 2000 books plus 100 Collectors Editions, but what does that look like exactly? Well I�ll tell you, it looks like 5 pallets each stacked full of boxes of books, wrapped in plastic wrap, with wooden reinforcements to protect the corners. Each pallet weighed around 1000 lbs, or 1/2 a ton. We had to clear out our garage in order to hold the pallets, and depending on where you live and the time of year that might be a bad option due to humidity, weather, etc� Food for thought!










PACKING



Onto the money! You need good boxes that fit your project. We order ours from Uline. We needed 500 boxes, with delivery, those cost about $500, or $1 per book shipped.



You're going to need tape to close up those boxes. We actually spent $120 in tape. Didn�t expect that!



If you�re going to ship a lot of stuff you will need help and a way to ship orders in batches. What you want is a service that lets you select 20-50 orders that are all the same. Enter their info at once, and print labels. I used www.stamps.com. It worked pretty well once I figured out the kinks. Stamps.com has a free trial, but you�ll spend $10 shipping to get your starter pack, and then $16 for the first month.



You�ll note I mentioned printing labels earlier, you will need a way to do that. Some experienced friends recommended a hot label printer, which saves time and money in the long run. But this was my first rodeo so I went old fashioned and used my ink jet printer. I have an Epson Work Force 7620. I used up 2 ink cartridges for $100.



You will also need label paper to print the postages labels on, that cost $140.



At this point our costs are $886, and we haven�t even paid for shipping yet! This might seem like a lot, but for 500 orders that�s roughly $1.80 per book shipped. Not the end of the world, but something you want to keep in mind.



New Profit Total is: $16,515 - $886 = $15,629






SHIPPING







As for the actual postage costs, the average book could ship Media Mail within the US for about $5 per book. I factored this into my Kickstarter and charged $5 for shipping. Shipping to Canada was $21. Shipping to Europe was $32. The most I spent on international shipping was $80, the average was about $40. I screwed up estimating those fees and only charged $20 for international shipping, so I took a hit on those costs. All in all shipping was about $3,000.



New Profit Total is: $15,629 - $3000 = $12,629






PROFIT



At this point, that�s the profit... $12,629.



If you dived that by the roughly 745 work hours my wife and I put in, that comes to about $17 per hour. I don�t know about you, but that�s not the worst I�ve been paid by a long shot!



On top of all that, I have 1,500 extra books that I can now sell (retail price of $45), and 40 extra Collectors Editions (retail price of $150). I also have extra prints and sketchbooks (retail price of $20) and 40 Limited Edition silk screen prints (retail price of $60).



I was able to fund all of this extra merchandise through Kickstarter, so future sales are now pure profit, aside from shipping. That's upwards of $75,000 in potential revenue.










FINAL THOUGHTS



If you�re still reading along, all this must look pretty intense at this point. But it's worth mentioning a few things. First off this was my 6th successful Kickstarter. I also had 1 failed Kickstarter. That means I had some previous experience and already knew a lot of the potential pitfalls. This is why I recommend people start with small projects for your first Kickstarter. Jump in, but don�t drown!



Doing a Kickstarter and coming out profitable was amazing! It involved a little luck and a lot of support (It�s called crowdfunding for a reason). Even though my Wife and I spent hundreds of hours working on the project, we have very few regrets, and those are mostly just things I would do differently next time. I got to be my own boss, create a project I was passionate about, and connect with others passionate about the same thing. It helped grow my internet audience, the number of people following me, and my personal mailing list.



My experience with this Kickstarter was so good, I�m already working on another book. We worked a lot kinks out on the first book, and now have vendors already in place for a lot of different products. Keeping the momentum going is much easier than getting started



I�m very excited for the future, and I hope you�re excited to try crowdfunding for yourself now that you're a little better educated on the real cost of running a Kickstarter!



Thank you!




To see more of Sam's work, please visit: www.samflegal.com

Friday, February 10, 2017

Choosing A Portfolio Path


-By David Palumbo







Possibly the most common concern of students and early career illustrators is getting hired. The deeper question is how to build a portfolio with that in mind. As someone who has exclusively worked freelance doing print illustration (work for public consumption, which is very different from a career in concept and production art), my advice tends to be that you need to present a memorable voice, authentic enthusiasm, and keep it focused. Shotgun portfolios (portfolios that attempt to please every type of client) don't stick.  In other words, you are true to yourself and your take on the subject stands apart from the crowd.



This contradicts older philosophies where you wanted to be the artist who could handle anything, jumping from one style to another as your client might need (a strategy which I understand is still promoted by some educators). That makes sense when you're an in-house illustrator for a diverse company. In the modern market though, clients work with a wide network of freelancers and artists often work with a wide network of clients. The result is a mindset to choose the right specialist for any given job. Of course, it's wonderful to find a client who you work well with and cultivate a strong long term relationship, but you'll still need other clients for a sustainable freelance career and placing all your eggs in one client basket is a risky move. There are exceptions, but my experience as both artist and (once upon a time) art director has been strongly in favor of the specialist approach. When you're known for doing your own thing really well, the jobs find you.



There is, however, a big problem with this advice. It only applies to what I do (again, freelance print illustration). If you want to work on a large art team or in-house at a studio, the rules are different because the job is different.  In addition to meeting quality expectations, you must fit the brand and some brands are very rigidly defined. Essentially, your work must weave seamlessly into the tapestry of the rest of the art team. Working together, you help create something bigger than one person could accomplish. And there are a lot of these jobs. Much more so than full time freelance. And on average they pay better.



There is a certain vanity to freelance when compared with the team approach needed for concept and production work. As a freelancer, my name is crucial to my business. I aspire to create work with as unique a fingerprint as artists like Leyendecker, Wyeth, and a hundred others who inspire me. And there is a romantic appeal in that, but in all honesty this is a rockstar mentality and certainly not the only way to go. Given how much more opportunity there is to make a stable living in games, it might even be bad advice.  Many who try the rockstar path are not cut out for it, but would do great in a studio environment.



So what is the right path to pursue? It probably comes down to personality and lifestyle.



A freelancer does not collect a steady paycheck. One month might be all 12 hour days and no social life, the next might be anxiety over when the next job will turn up. And a month without invoices won't catch up until 30-60 days later when no checks are coming in. Speaking personally, things should reach a fairly stable equilibrium after a few years in the business, but the uncertainty is always present to some degree.  Even the most established artists have slow months.  If you have mouths to feed or have a hard time keeping a rainy day account (during good times and bad) this could be a problem. 



A freelancer works alone. Yes, some people opt to rent shared studio spaces or can work along side their partner or spouse, but the majority of us work in solitude. And it isn't just being ok with long stretches of limited human contact, but also being able to function efficiently without someone else there (be it coworker or supervisor) to keep you honest. If you need social buzz or have self discipline issues, this could be a problem.



A freelancer might get to be involved on major pop culture projects, but we don't really build them. For example, I've been thrilled to be doing Aliens covers for Dark Horse comics. I get to be part of something that I love and grew up with! But I'm not building the next Alien. My involvement will generally be limited to adding some extra flare to an established franchise. There are occasions to the contrary, but they're rare and unpredictable. Unlike working for a AAA studio, where that is your day to day.



And if you're the sort of person who feels happier in a more conventional work environment, who needs steady predictable paychecks, and who wants to help build big things that might endure for years or decades, branding your portfolio as a niche market with an unexpected and unique voice might not actually be good advice. You'd be much better served by studying the culture and style of the studios you connect with and creating a book that fits right into their pipeline.



My inspiration for this post began with a conversation I had last month with Jeremy Cranford, who is the Art Outsourcing Manager at Blizzard Entertainment. When I followed up with him asking if he had anything more to add from a studio perspective, he replied:




�Are you making art for self-expression or do you want to be a "hired gun". Two different tracks. (Shot guns portfolios do not work with either track)



I think it's better to be really good at one thing than to be "okay" at lots of things. Then you can target companies who hire that one thing you do. When I'm looking to hire an artist I would not hire them if what showed in their portfolio did not match the art style I was visually communicating. If you have varied interest, I think it's best to create different portfolios for your different clients.



While having a strong artistic voice is important, I think it's equally important to have some range. When working in a studio you need to be able to "mimic" a house style. Disney artists had to mimic Mignola on Atlantis and then had to mimic Al Hirschfeld on Aladdin. I've also know artists who were asked to leave a studio when they could not match a target style.



At the end of the day, your best work will be where your heart is. If you're not into 'X', you can't fake it.�





Jeremy also noted that many studio artists have personal work, gallery work, or freelance on the side which can be their personal outlet while still getting the benefits of an in-house position.



The name of the game, always, is to show your prospective client that you can solve their problem. For a publisher looking for a cover artist, that problem might be �I need someone who does strong realism and outside the box fantasy designs and really understands how to connect on an emotional level...� and then start thinking of cover artists who match. For a game studio looking at new talent, the problem might be �I need someone in the San Francisco Bay area with strong design skills that understands our brand well enough to fold seamlessly into our already established team...�  And in either case, nobody wants to take a chance unless you've already proven that you can do it.



In the end, what are your priorities? What drives you? And most importantly, what does your gut tell you?



Special thanks to Jeremy Cranford for consultation on this piece