I sat there amongst all these awesome fantasy art illustrators. I was a little apprehensive at first. But that didn’t stop me from talking to them. Marc, Jeff and Aaron all introduced me as their friend and as fellow illustrator.

More then anything, that meant a lot. I’ve been calling myself an illustrator for the past two years, with confidence. No, I’m not fully supporting myself yet doing just illustrations. That’s probably several years off. It’s actually how I see myself these days.

When I got to meet other artists and talk with them, I was able to talk with them on the same level, a professional illustrator, and all that goes with being an illustrator, getting work, where to look for work, how to deal with clients. When you are a commercial illustrator, there are lots of area that are common, regardless of what kind of illustration you do. And I was able to say, I do editorial illustration and that was cool with everyone, there wasn’t any sense of “oh your not a fantasy illustrator…”

I gave out several copies of Kool Aid Gets Fired, and got a really great response towards it. Saturday, I got a text from fellow cartoonist Monica Gallagher, saying “Dude, I’m in a comic book store right now and this guy is totally gushing over Kool Aid!”. Then about a hour later, and email from someone that picked up Kool Aid from Midtown comics, telling me how much he enjoyed it (and how sad it was at the same time).

I left GenCon feeling really energized, and I wasn’t even there to promote myself or get work, though I did leave my comic with several art directors. You never know when a game company does a silly game and needs whimsical illustrations.

It also reinforced that being an illustrator is something you have to pursue actively. Marc was there to get his work seen, and hopefully sell some prints, which he did. For a first GenCon, I think he did pretty well. He got great reactions from people to his art. In particular to his animal prints. Sales are always great, but sometimes feedback is better, even though it doesn’t have any bankable value. Feedback guides you to make better choices.

Marc got to talk to lots of art directors, getting direction and possibly some work. We both got to talk shop with each other, and other artists, and it felt great. Actually it felt amazing to be honest. For me the moment that stood out most was one night (I can’t remember which night), before going to sleep. Marc, Aaron and I shared a room. It was late and we were just sitting around talking, and it wasn’t about art, just guys sitting around being guys (I’ll spare the guy talk details). But under that we shared the bond of having the same struggle and goals.

While a lot of the time was socializing, hanging out, watching Marc take his first nerd steps (He’s totally into Magic, the card game, thanks to Jeremy Jarvis), it was still networking.

Now, here is a list of the awesome artists that I got to meet and talk to besides the ones mentioned above.

Chris Seaman, check out his new book, inkBloom with the talented Jim Pavelec.

The Mohrbachers, Ania and Pete. They traded a very nice print for a signed copy of Kool Aid.

John Stanko, Eric Deschamps, Paul (the Prof) Herbet, Chris Burdett (rawr, I’m a monster!) and Grant Cooley were just some of the many artists there, but I actually got to talk to them the most.

While sitting at Marc’s table, I did some drawings, so here is a couple of them.

Kool Aid Goes to GenCon

Rascal Pile up at the dice bins

So I feel I have to pass that information on when others starting out ask for it. I try and tell them what I would have needed to know when I was starting out.

PORTFOLIO
Make one. Really. Any way you can. The simple fact is that people are hired based on what they have done. Even the best art director is looking for some one that can already create the art they want.

A portfolio contains completed successful pieces. I think the key words are completed and successful. The project should clearly be finished. Not a sketch or missing elements. And it should be successful. It doesn’t have to be something you did for pay, only that it works as a final piece.

For years I never had an organized portfolio. If anyone came to me asking to see it, I would have to scramble to get something together. And I would always have to put in pieces that were not complete or that I wasn’t entirely happy with. And I’m sure it came across. I’m sure it also stopped me from getting work.

All the illustrations I did for Son of Kool Aid were done for myself. Each one is complete and successful. I feel I can show any one of them as part of my portfolio and feel it stands up on it’s own. They never fail to get a good reaction from people when I show them.

When you finish a piece, consider if it’s portfolio worthy or not. A piece might be successful and just what the client wanted, but it might not always be something you want to show to other prospective clients. I do a lot of maps for a boating magazine, to show the different locations of places one might visit in the area. I don’t put them in my portfolio because they don’t represent what I am as an artists. I’m not embarrassed or anything, they just don’t work as portfolio pieces.

I’ve got what I call my general portfolio, that I show for people coming to see what I can do. I then have other pieces that are my second wave. All of these are as good as anything in my general portfolio. If a potential client wants to see more, I know I can show them more, and not worry it doesn’t measure up.

Or if someone asks me to send examples of work, I can customize what I want to show them. Perhaps they use more painterly illustrations. Maybe they like simpler drawings.

This doesn’t mean you need hundreds of pieces. But around 15 would be a good start. If you don’t have those, Get to work. One idea is to take illustrated work, and ask yourself how you would have handled the illustration.

Get feedback. And accept it. If someone says you have some weak pieces, find out which ones, and why they seem weak. I suggest finding other artists or art directors. Your friends will probably just feed your ego over giving you honest feedback. And don’t be discouraged. Once I had an illustrator who I really liked suggest that I would make a better designer then illustrator. It hurt, but I didn’t take it to heart.

Feedback should guide you to making better choices, but not change your direction.

But the truth is, one artist can’t tell another exactly what to charge. But thankfully, they just wanted general advice, and to bounce ideas. One conversation took place in a group and someone said “You need to make sure you get value for your work.”

What is value? To me, it’s getting what I feel I should be paid for my work. For some, it’s getting the highest a client is willing to pay. Others have set fees and never go below that.

I do similar style illustrations for two different magazines. The magazines are on completely different subjects, have different ad rates and circulation numbers. One pays about 4 times as much as the other because of that.

For the same amount of work, I get wildly different amounts. For me, that works. You will find illustrators that disagree, saying it devalues the work. I disagree. The lower paying magazine gives me on average 2-3 illustrations a month, and comes out 12 times a year. The higher paying magazine gives me 2-3 a year, and comes out 6 times a year. Over all, the lower paying magazine brings in much more money over the year.

I’m getting value for my work, either way. Ideally, I would love to fill my time with the higher paying illustrations. More of those means making more money, which means having to spend less time looking for work, and more time working on my comics.

But I’ve built up a really good relationship with the one magazine. You never know when my contact there will move on, and because we have a good relationship. Which is how I ended up at the higher paying magazine, because I worked with the art director when they were a designer at the same company I worked at.

It’s a tricky thing, having to come up with a price for your work. Start with asking yourself the following: How much do you want to do the project?

If the answer is, you could take it or leave it, then it gets easier, come up with a price you like, present that, and if they take it good, if not they will pass.

If the answer is, you want/need the work, then you need to strike a balance. The balance is between getting what you think you are worth, and what the client can pay, or is willing to pay.

First thing, how much does the client want to pay? If the potential client tells you what they can afford, if it’s within your acceptable price range, then negotiations will be short.

If they don’t tell you up front what they want to pay/can afford, the first thing to do is ask, or state what your rate is, but that you can work within a clients budget. You and the client then work out the details.

You can set minimums for yourself. For example, the minimum I work for is around $30 a hour. That’s the lowest end. So, if I’m getting say $150 for a spot illustration, then I won’t put in more then 5 hours of work.

Also, the less a client can pay, the less changes I offer. The client that pays the $150, gets thumbnails, they pick one, I flesh it out, they make changes/suggestions, I do finals that include those changes/suggestions, I send final with invoice. Pretty simple, straight forward, and gives the client some input along the way.

The client that pays me $1500 gets thumbnails, revised thumbnails if needed, roughs, refined roughs if needed, tight pencils, final art, one round of tweaks and changes after finals.

Keep in mind, this is also based on the amount of time I have to do the work. A $150 illustration is about half a days work, a $1500 illustration is several days over a few weeks worth of work. If I have a week or less to do a more complex illustration, the amount of changes along the way are going to be less for the client.

Value for your work comes down to you thinking you are getting a good price for your work over always trying to get the most money possible. That means being honest with yourself, and learning to be flexible from client to client.

In the end as long as you are making money, not just covering the cost to do the work, then you are getting value for your work, and your self.

When everything is going fine, you can just be yourself. If you are an outrageous person, perhaps be a lite version of yourself, unless you really know the client well.

But what about when you are odds with some one? For me, that’s when I have to go into professional mode.

I was working on a map for the boating magazine. These are general maps, not nautical maps for areas of interest for boaters. I work a little with the author of these port of call stories, to get all the locations from the story. I’m given a list of all the places they would like to see on the map.

This time around, there were about 5 places that no matter how much I searched I couldn’t get a good location for them.

So I laid a grid down over the rough of the map, which had the locations I could find, and sent a jpeg to the author, asking for the following: to check the current placed locations, a grid coordinate for the 5 locations I couldn’t find, and the correct way to spell a couple of them, because I was finding two different spellings.

It took nine emails, instead of two, for me to get what I needed. The author, who is not a professional writer, couldn’t just give me the information. She had to question what I was doing with the map, and give me her thoughts on how I should do the map, and want to know who makes the choices about the maps.

So I had to take time to answer her questions before she would give me the information. She wasn’t holding out till I answered, you could just tell she was the type that when asked a question, has questions, often unrelated, that she wants answered first.

These types drive me crazy. I’ve dealt with them a lot in corporation. It’s more annoying when your question is direct and simple. You can ask a yes/no question like “Are you going to turn over the manuscript today?” and your answer is, “Did we change the color blue for the cover of the book?”  Nothing short of playing 20 questions will work.

So for several emails, I played her 20 questions, having to ask the correct way to spell some locations twice. And then finding mistakes she missed. I cut an paste her text from her emails into the map, so that way I don’t introduce spelling mistakes from typing.

The editor has asked in the past how was working with her. I say it’s fine. I know you might be thinking, but that’s not true, she’s holding you up, she’s questioning your work. Yes, but I got my information, I’m not missing my deadline. So in the end, I was annoyed, I had to play 20 questions, when I could have sent off the map on Tuesday, it’s now going Thursday.

Telling the editor that she can be a game of 20 questions, isn’t going to do anything. If the editor said to the author, “Hey, can you just answer his questions without asking your own” it will probably offend her. As it stands, the editor thinks I’m awesome. If the author ever says anything (unlikely), the editor, who seems already to have issues with the author will think it’s just her.

Sure, I could try asking the author why she needs to knows. With this type of person, that’s just going to open more questions, which frankly I don’t want to answer. I’ve been down that road, and I’ve learned to spot those people who given a too much information, become more annoying.

So I did the professional act, I answered her questions, trying to not give her any openings. When she didn’t give me all the information I needed, thanked her for what she did provide, and politely asked for the information she missed. I didn’t point out the mistakes she missed, included in her original email I worked from. And I won’t tell the editor any of this.

I can credit part of my freelance work because I got involved with a figure drawing group. I came to the group when a friend asked me to go with her to a Meetup group that met in Central Park to draw. I looked through the other members profiles, to get a sense of the people in the group. I found a couple figure drawing groups, so I signed up for those. I have to admit, I was nervous about going to my first session. The guy who started it was running it from his in home studio, and is a pretty amazing artist.

I went, drew and felt good about it, even though I knew my skills were pretty rusty. I think it was also a right-time thing. I had been let go from my job in March, and had decided I would make sure that my unemployment, was FUNemployment, and really de-rust my skills and build them up. I talk a lot about goals. At that time it was improve my drawing skills. I know in the year since then I’ve achieved both those skills. If I hadn’t gotten involved with something outside of myself, I don’t know where I would have ended up.

I’m a firm believer that drawing is the base skills for most art. I also have a very open mind to what a successful drawing is. Looking “right” is subjective. However, the ability to convey your idea’s visually, and to work them out is really what going to the figure drawing group is about for me.

At first it was every other week, then we moved to a bigger space and it was every week, thanks to Kristen who worked with the artists who owned the studio. The owner went to China or Europe for a few months, so we found a new place. Jeff who had been coming to the group, offered his place. But after a few months, we outgrew that. One of the people coming (Liam) started organizing Saturday meetings, every other week. This week, Marc and I went shopping for stuff we need for the new stage the group has taken on. A professional space we are paying for. The money comes from the people who attend, it covers the cost of the models and space.

Around this time, I was reading a book, My So Called Freelance Life, by Michelle Goodman, which was recommended to me by a fellow cartoonists, Monica Gallagher. The book is more about changing the way you think about freelancing, rather then what you should be doing as a freelancer, such as mailings. One of the things it talks about, which I’ve written about, networking. Basically just finding people who want to do what you do.

Getting involved in the drawing group got me several new friends, who want to do the same thing as me, making a living off our creativity. We are all at various stages of that. So any of us can ask someone for advice or give advice. We formed our own network.

You don’t have to get as involved as I did. But doing something art related can’t hurt. I recommend groups more geared towards professionals. Don’t worry if you don’t see yourself as a pro yet. If your goal is to make a living as an artists of some sort, get in there with them. You also don’t have to find a group that does specifically what you do. If you want to be a cartoonist, you don’t have to find a cartoon drawing group. Chances are you aren’t going to find that.

Our group says we are for professionals and people serious about improving their life drawing skills. I’ve been asked how we determine that. We really don’t make any judgment about that. People come, if they feel it’s a good fit, they keep coming back, if they don’t, they find a group they like better. We are a fun group, but we are serious about what we do, and I think both come across during the sessions.

If you are worried about someone looking at you and saying your not a professional, only a real jerk is going to do that, and who wants to be around those people? If you are worried about people thinking you aren’t that good, going will soon change their mind as you get better. Like I said, when I first went, I was rusty and was worried what people would think.

Doing art is often a solitary act. But as artists it’s so important to interact with other artists. From going to this group I would say I’ve gotten the following out of it:

Better Drawing Skills
A network of fellow artists
Self Confidence to be a freelancer
More resources
New friends

There was some good timing and maybe a little bit of luck involved. I signed up for two figure drawing groups, both being run by talented artists. I only made it to one of the groups. What if I had went to the other one, and it clicked as well as this one did?

There is another factor that had nothing to do with timing or luck, which came from me, and that was my willingness to get involved, and following through. Looking back, some of what I did, seemed very natural to me, even though it wasn’t anything I had done before. But also looking back, I can see why in the past it had trouble trying to be a freelancer, be an artists and be the person I knew I was.

If you find yourself struggling and maybe a little isolated, get involved.

Don’t hack. If you take on a project, try your best. I recently worked with a client that probably won’t have a reason to hire me again, but if the chance comes along where they need my style of art again, I know they will come right back to me, no questions asked. Not only that, I’m sure if anyone they know needs my style of art, I’m going to be recommended. One of my best compliments came from this project, were I was told that it was the most professional and impressive leave behind they had done in 12 years.

So I was happy that I was living up to a goal of mine. I hadn’t always done that in the past.

I used to do some map illustrations for a boating magazine, which a friend was the managing editor. When he left the magazine, I thought, there goes that. But he left my name as a resource for maps, and in January, the new editor called to see if I had time to do a map. She asked if I did anything else, I said “Yes, I’m primarily an illustrator.” She looked at my work online, liked what she saw, and gave me an article to illustrate.

She loved the illustration so much, she’s given me more each month. On average I do one map and two illustrations. Each one has been well received. I’ve spent anywhere between 4-6 hours, which includes sketching and pencils, on them. I’m also able to charge a little more then what my friend was willing to pay.

By doing the best work I could, I’ve ensured a long working relationship with this magazine. I billed them $600.oo last year, which is about 5 total illustrations, which were simple ones. That’s about 1 every two months. I’m now doing on average 3 each month, and for more money.

I’ve learned clients seldom have problems with what you charge, if they are very pleased with your work.

There are things you can do to help make a client very pleased with you. I’ve always been an open communicator, it comes easy to me. I often hear art directors list lack of communication as something that turns them off with an artists. Mainly, they want to be kept up to date on whats going on. And if you have questions, send them. Unless you are asking hundreds of questions, I find people generally like answering questions.

I also start on the project as soon as possible. This was something I was very bad at. Oh, it’s not due for 4 weeks, and I wouldn’t start anything for 3 weeks. I start any given project the moment I can. If I get work, and I’m not working on another client’s project, I start right on that.

Several good things come from this I have found. One, ideas have more time to develop making them better and flesh them out while they consider the thumbnails. Then while I’m doing pencils, I can plan out in my head how I may tackle each particular section of the illustration for the final. How much details I may have to give any part, compared to the other, and color composition.

Also, the client thinks I’m on top and super excited to be working on the project, which I am. I may have 4 weeks, and know it will only take 1 total, why not get it done now? If more work comes in, I can take it on, knowing I can re-arrange my work load. I don’t like it when work piles up, because of me.

I also follow through on everything the client asks, so long as they are within reason. Since I always layout the terms of the work flow for each project, we can stay within them. I come across as friendly, but focused, which makes them understand that I’m open to stepping outside the agreement we have, so long as they understand what that means in terms of money. And, I don’t try and angle requests to always fall within the outline extra charges.

When I worked in a retail store, the store hired the handyman husband of one of the employees to do some sprucing up of the store. He hadn’t worked in months and the store hired him partly as a favor to the employee, but it became clear he was trying to milk the store for every penny he could, with ridiculous claims of what wasn’t covered in their agreement. He got them for an extra $400 above the estimate in the end. He also would never be able to work for the store in the capacity again, and certainly wouldn’t get a good reference or recommendation from them. His lost.

All my agreements say that changes to final art costs $XX.oo. If I get a change after I deliver final art, I weigh the request against charging this. Because if the change is minor, say a correction they missed, or a mistake, and it won’t take more then 10 minutes or so, I’m doing it for free. Basically I set out my terms, and then going off of that, see where I can give the client a little more then what they are expecting. So long as I’m not robbing myself. And I never charge a client to fix my mistakes. When I worked as a production artists in publishing I don’t know how many vendors would bill us the hours it took to fix their mistakes.

I have learned not to count the hours I work on any given piece so long as I am working within the deadlines. I’m mindful of the time I spend on a piece vs the amount I am getting. If I’m getting $150 for a spot illustration, and I end up spending 7 hours on it, but making an amazing piece, that will end up in my portfolio, I’m taking 7 hours, even though that means I just made around $21.oo an hour. I believe having amazing wow pieces to put in my portfolio has an investment in myself and future work.

There are lots of ways to get additional work, which generally results in a few extra jobs a year, and you really shouldn’t plan your business strategy on them. To date, I’ve gotten 1 job from a friend telling a client that I would be better suited for the project. I’ve gotten more jobs from just doing good work and people recommending me. Doing an amazing job on every piece has never failed to pay off in some manner. It can be more work from the same client, it could someone new seeing it and hiring me, or getting the attention of fellow illustrators increasing my network, and finally the most important one, improving my skills as an artist.

I’ve always had good work ethics, and when I started adding in a stronger, Get-It-Started and Do-Better-Then-the-Client-Expects attitude, things really started to fall into place. Good work is key, and I feel that how you interact with your clients, is part of that good work. It’s just as much my job to make them happy as it is to do good artwork.

UPDATE:

“I’ve learned clients seldom have problems with what you charge, if they are very pleased with your work.”

A few days after writing and posting this, a client asked me if I had time to do more work for them. This time it was a normal illustration, plus 5 smaller illustrations to go with the article. I came up with a price, broke down what that price included. The editor came back and said, she was going over the budget to see where she was.

I replied I am open to going a little lower, because I was really excited about doing the illustrations. She replied back:

“I would love to do all as outlined originally, but I don’t expect you to cut your price like that. I value your work and know it’s totally worth the $”

It’s always great to hear that, and know that by doing your best possible, you have earned someones respect.

I added this, since this is my first book I’ve done that I’m sending to a professional printer, rather then printing it off myself. I felt that I should do something special for that, to mark this step forward in my work. Also, the printer said if I could up the page rate to 40, it would make it cheaper. So more pages, better per unit price, fin with me.

I had the idea for Son of Kool Aid when I was writing KAGF, and last year ran out of copies of it. So I began working on the story in full. I spent the last few days (7) doing all the illustrations. It was very intense, and wonderful. I would wake up, sit down, and get to work.

While I had written out the text many months ago, it wasn’t sold on every word that I had used, and the ideas for each page. And honestly I didn’t have the final page written or even what it would be. So I started with the pages I knew were right. As I worked, I kept thinking about the pages that weren’t quite right, and the final page.

I rewrote a couple of pages, and finally came up with the ending. This was how I worked for KAGF. I outlined the pages, then  write the page, then plan it out, then draw it. Generally I would be planning out the next few pages while working on the current page. Since I had a roadmap of where I needed to end up, this method worked.

I find that I can have some really good inspirations when working under a deadline. I also think these inspirations happen because my mind is so active during this time.

The book arrives around April 2nd, a week before MoCCA, the following weekend. The book will be available to order here, with payments acceptable via paypal, or checks send to me. The price will be $5.oo  plus shipping and will come signed and a drawing of Kool Aid (Not for retail orders, unless asked).

A special thanks and love to the following people, Tim Howard, Tim Fish, Monica Gallagher and Marc Scheff.

- Chuck Close

Someone quoted that this weekend, I had never heard it before, but it’s something I believe in, and have for years. It’s not good enough to just sit around waiting for a good idea. In fact, I tend to have more inspirations when I am doing something, over doing nothing. Being active makes the brain active, which causes ideas. Just like anything in this world, use it or loose it.

Inspiration can come in many forms. Secret confession, I watch Project Runway. Not for the fashion so much, but because I like Tim Gunn. I see him as a very positive, problem solving, encouraging person, who is genuine. He goes with his gut feelings, but channels that into thoughtful questions and is very open to a wide range of ideas.

So, I enjoy watching someone like that, because I work towards being like that in who I am.

I find inspiration in Sarah Palin, in how not to be as a person. She is a horrible person, because she is a hypocrite. She talks about how society needs a strong roll model and leadership. And yet every time someone says some thing insulting or degrading about her, what comes back is on the same level, insulting and degrading.

In short, she has never shown me that she can rise above, and be better. Which, to me takes her lower then the person who originally insulted her. Because she knows she’s doing it, and goes ahead and acts that way on purpose. Maybe not, which is sad, because that means she has no self awareness.

I’m only mentioning these public figures as examples of how inspiration can come from anywhere. Currently I’m working on 10 full page color illustrations for Son of Kool Aid, need to be done by March 9th. I’m doing good on getting them done.

There are lots of things motivating me, but one thing in particular, are people that always complain about not being able to ever get work done. But they never just sit down and do it. There is always something in the way. Tired from work, which I would accept, if they were lumberjacks. They have boring jobs, that dull their minds. I’ve been there.

I write these blog entries for myself, really. Why? To remain positive. To motivate myself to looking at things in a forward way. There is no room in these entries for complaining and bitching. I may talk about a bad experience, but it would be about how I learned from it. There isn’t any reason to come here and vent.

As I work on these illustrations, I find inspiration comes naturally. But it’s also because my mind is very active. It’s like working out. Keep doing it, and you will see results.

So don’t wait till you have the inspiration to do something. Do something and the inspiration will come. Not only that, your skills to execute the inspiration will be sharp, making it easier.

Here are some sections of the illustrations I’m working on. Enjoy.

Picasso agrees and quickly sketches her.

After handing the sketch to her, she is pleased with the likeness and asked how much she owed to him.

Picasso replied, $5,000.

The women screamed, “But it only took you five minutes!”

“No madam, it took me all my life.” Replied Picasso.

Recently my idea of what it means to be an artist/writer/dancer/actor/musician has changed. To be an artist/writer/dancer/actor/musician you must always practice your passion. Only the rare prodigy comes forth as a fully functional artist. The rest of us talented folk have to sharpen our skills. For me being a cartoonist means drawing all the time, and not just comics. Drawing sharpens my eye and hand. Much how you learned to write your letters, drawing them over and over, till now it’s so built into you, you don’t even realize it.

I’ve mentioned that I attend a weekly figure drawing session. (if you live in or near Brooklyn, I suggest checking it out.) It’s been about a year, and I’ve definitely noticed improvements in my figure drawing. Other benefits I’ve seen is I’m able to sketch out a layout or a thumbnail for an illustration idea quicker and cleaner. That kind of benefits comes over time, and is some what passive, it just happens.

I’m in the middle of a project (which I got with the help of my good friend, Marc, an amazing artist), working on the pencils. I’ve got a lot of reference material on the human figure, which I refer to, when doing action poses. But one panel, I really didn’t need to refer to anything, because I knew how the figure was going to look. It was a straight forward shot of the character busting out of the ropes holding him. I knew how the shoulders connected into the pecs, where the line between them and the biceps would be, how the arm would connect to the chest.

I’ve drawn similar poses in the course of the drawing session. What I had been practicing, I was putting into action, in an active way. It was very clear that what I was doing in the drawing sessions was having a direct impact on what I was doing, both passively and actively. It was pretty cool to have a moment where I could see both happening.

Some one once asked me, “Does anyone ever get good enough to not have to use references?” I seriously doubt it, save for the prodigy mentioned earlier, or people who draw the same thing over and over. And even then, all that happens is that you probably rely less and less on reference material for what you know. But if you have to draw something such as Washington Square Park, wouldn’t you look at a picture?

Also, this project has been a good one for re-evaluating my composition. Take the above image again. That is not how I originally drew the inset panel. This is how I drew it:

How boring. Very boring. The same idea is in both, that hasn’t changed, but how I executed the idea has changed. This in fact happened several times. One panel in particular, I redrew about 5 times, over the course of many hours. I had a lot of trouble finding a pose to reference* that I really liked. Eventually I found something that lead me to the final solution.

For me, being a cartoonist and illustrator doesn’t mean that I make money doing that. It means the way I think about it, the way I approach it. I need to always look for ways to expand my talents, what I know, and the information I can bring to each project. Being an illustrator/cartoonist is more then a full time job, since all the work I do to be a better illustrator isn’t done for direct pay, and comes on my own time, after the time spent on paying work.

*When I reference an image, for me that doesn’t mean copying it, but using it for a guide on how things line up on the body. Especially for hands and feet.

Here is the basic shape of the boys that I am going with. Sure there will be variations but the basic average boy is based on this sketch.

When I’m working on my comics, it amazes me the amount of pre-development you need to do for any given aspect. It’s easy enough to write down “SoKA being picked on by school mates”. What do all those school mates look like? I think that’s often were I spend the most time staring at the screen. It’s a good process, as I will get an idea. It might be “Fat Kid”, then I start working out what kind of fat kid. “Mean Girl” or “Nose picker”

A friend on facebook recently asked, should he plan out all the aspects of a website, sketching it out, or a few parts, and then just start to building pages, making things up as he goes along. The over all response was, sketch it out, keeping it flexible, that making it up as you go along doesn’t really work.

Planning out your art and creative process, more often then people realize, determines if you will succeed or fail.