Hi Ness, Im actually working on a passion project with a friend on a children's book. My partner is the author while I do the illustration. We've made huge progress.
@@ArtBusinesswithNess Our book is about a star fish named Gus who is having a birthday and he is at an age where he needs to shine so he has to believe in himself.
Hi Ness, thanks for your video :) I'm working in my first one right now. I'm a painter most of the time, but I don't sell enough to make a living out of it. In one of my last exhibitions, I met a publisher, who is also a curator, and she told me she was interested in working with me. So now I'm working in this project, illustrating Victorian ghost stories written by women!
It was helpful that you described the difference between email and newsletters which made me aware to treat those as two separate marketing strategies.
I ended getting an advanced diploma in graphic design and basically had no luck in finding work related to it. I currently work part time for a municipality and they occasionally post graphic design jobs, yet every time I apply I get no responses. :( I’m going to keep trying, but it’s just very disheartening. I do like illustration way more though and now I’m working on a portfolio for it. Tip 2, 3 and 5 are great! Thank you so much for the video, it was really helpful! ❤😊
I'm sorry to hear that! We have this perception that graphic design is an "easier" art job to get, but that's not often the case. There are a bit more in-house positions for graphic design, but it's also very high competition. You can also do freelance graphic design but then you have to do all the marketing, specialization and business running than you would have to do with any other freelance work, like illustration. Any art career will be challenging and competitive, but when the going gets rough, artists who are aiming for their real passion are more likely to persevere!
Hi Ness, a great informative video as always, another benefit I find from personal projects is that it keeps the momentum going and now I have a portfolio of more work I can show to Art directors. My first large commission was from a craigslist ad, haha and it was a decent gig. Very uncommon for craigslist, so I got lucky.
Thank you for the great video :) wishing you a beautiful week! And to answer your question, the only contract I’ve signed was with a friend’s relative who wanted them to recommend an illustrator. I did one advertisement illustration for them. Best wishes to you and to all of us artists :)
WOWWWWWWWWW!! most useful and informative video I´ve watched on this subject....thank you, it really gave me a couple of ideas I´ll be trying, since I´m a disaster finding myself a niche as an illustrator
These are all useful tips. As always, I love how you explained this information. I especially love the idea of working on your own project to help showcase your skills. I think that's a great idea! Especially since I'm always thinking of new ideas for little projects. Haha! :)
Glad it was helpful Cathie! ☺️ I’ve noticed there are always artists who are slightly more original than the current trend and they have so much to offer, but the companies don’t want to take a chance on them no matter how much they query. For those artists, doing their own project and proving that there is a demand for their art is a great way to break the cycle!
Thank you for sharing Vanessa. This can be very frustrating most of the time because as they say, it is a marathon not a sprint race. I have tried the emails for years and got maybe one good response and Instagram is clearly no good. I have had the luck of finding some independent writers who like me and have come back for multiple projects... But in the traditional publishing space I have not seen a good response which has made me think that I might not be a good fit for the kidlit world but at the same time this is where I have found the most and best work I have ever had... So, not giving up just yet!!! Sorry for the vent, I am not complaining just feeling a bit frustrated. Thank you for the video, it is always fun to learn of the methods others have used to get work Keep up the good work!
It is difficult! I've had good luck with the emails, but it's really a matter of being exactly what they are looking for, at the right time. It can be tricky! It could be your style is not quite on trend, or you're simply not querying the publishers that are a good fit. I would encourage you to work on your own book projects! If the publishers don't want to give you a chance, their loss! ;)
Great video! I was wondering regarding the newsletter, when you contact people who worked with you or showed interest in your work and you also mention even people who rejected your artwork, how do you write your message to sound professional and not spammy, specially for those who rejected your email in the past. I always worry I will sound unprofessional or even annoying and instead will end up turning off people. Thanks as always for all the great info you share 💖
Newsletters in our industry can (and should!) actually be really simple :) It's about the art, not about writing something interesting and witty. They really don't have time to read a newsletter anyway! I use my newsletter like an "automated pitch" of sorts. Just my newest artwork, availability, and maybe if I have some news like a new project coming out or something. Keep it simple!
There are more in-house studio jobs for graphic designers, and that's easier to get and to do. But being a freelancer is equally difficult for all professions! If you do freelance graphic design you have to do all this stuff too and it's hard...
@@ArtBusinesswithNess I'd like to double down on that. If you don't learn anything else on this video, understand that there is no magic pill for success. She's giving you a process that you can copy, paste and adjust to your own personal circumstances that will produce scalable results.
It's really quite simple! We don't have to write a novel or be very original each time, as most art directors are way too busy to read everything anyway. It's about showcasing your latest art, letting them know your availability, and sometimes news about your newest collaborations or products.
It's certainly possible to get gigs there, though it's very competitive and the rates there are much lower than industry standards. In the long run, it's not sustainable to use just that to build an art career.
@@ArtBusinesswithNess I agree, and as it stands, I have a list of publishers and agents to submit work to, and I am also trying to refine my work be up to standard as there is need for improvement.
It’s the same all over the world! Because as a freelancer you can work from any company in the world, you’re not limited to local companies. All business is done by email. I’m in Canada, but most of my clients are in the UK or US.
Hi Julian! After 3 years working in picture books, I started feeling a bit tired of them. I realized that long-term projects like that (a book takes anywhere from 3-6 months to complete) kind of burn me out and I wanted to try something different that has shorter projects and more variety. It wasn't a sudden realization - I was quite confused and lost for a good half a year before I realized exactly what was going on and decided what to do next. I eventually discovered and fell in love with surface design and licensing. It then took me about a year to build a portfolio and find my footing in this new industry.
Hi Vanessa! I'm interested in both children's book illustration but also surface design and licensing, and maybe some editorial. Do you think it's possible to balance all these for exactly those reasons, a bit more variety in duration of projects and the market. Also I would be interested to see a video from you on how to create a portfolio for licensing/surface design. Do you get these projects from your agent or freelance on your own? Currently I am building a portfolio for the children's book illustration first, I want to get into this market because I got bored of drawing pictures that were more aesthetic and less storytelling. But who knows how I will feel in the future haha. Which is why I'm open to SPD/licensing too. Is your portfolio bootcamp more suitable for children's book illustration or can it be applicable for licensing too?
@@annoif8 Hi dear! It's possible to do multiple things, but I don't suggest starting with that. You'd have to make multiple portfolios, do company research in each market, have a different network in each market. It's too much work! Usually, an artist will focus on something to stay sane and so they can get somewhere, then maybe add a second market later on. Sometimes, even if you focus on a market you may still get offers for something outside of that market once in a while, and that's nice! Although focusing is important so you don't get overwhelmed and can make some progress, you also don't have to stick to your chosen market for the rest of your life. You CAN switch later! I did 3 years in picture books, then switched to surface design. I think the important part is to focus on 1 thing AT A TIME :) My bootcamp course is not market specific, so the strategies I teach can work for picture books or surface design. The bootcamp starts with an overview of the market and how to pick yours, then goes over building a portfolio, finding work, pricing, contracts, etc. I also have a mini-course specific to the picture book market that goes over exactly what you need in your portfolio to impress publishers. You can find that one here: www.artbusinesswithness.com/PPPcourse
@@ArtBusinesswithNess thanks so much Vanessa!! Love your channel! I've been watching many of your videos since I found you yesterday. The way you communicate your insights somehow just delivers and I instantly want to get to work and improve! It's also somehow helpful to know that you're also Canadian and we are in the same province. Weirdly enough I feel that you're relatable right away haha. And whenever I visit Montreal, my French Canadian friends have this style of communication like you which I find so refreshing! They are expressive and spontaneous and I always learn a lot from them lol. Thanks for creating the portfolio prompt course. I'll be sure to get that!
It depends on your market! Different agencies specialize in different things. When I switched for picture books to surface design, I also switched agencies.
thanks for the valuable information, Ness. I have one question, do you pay agents beforehand or once they get work for you? Do you know any agents that are more towards literature and crime illustration? thanks :D
Agents work by commission - they get you work and take a %. The money always flows from them to you. The exception is licensing agents who sometimes charge a yearly marketing fee to cover the cost of very expensive tradeshows like Surtex. There are literary agents that specialize like that by genre, but mostly for authors. For illustration agents, their focus is broader, like an entire illustration market (publishing or editorial for instance). Many illustration agencies even cater to multiple markets.
It's very competitive which makes it hard to get work and drives the prices down. I find it much easier to email art directors rather than spend all my time fighting over crappy gigs..
There are many strategies you can use, this is all a very long explanation but I go over it all in my online course: www.artbusinesswithness.com/level2
![Twenty One Pilots - The Line (from Arcane Season 2) [Official Audio]](http://i.ytimg.com/vi/XCz7WUotXs8/mqdefault.jpg)
Have you had any illustration projects before? If so, what was it about? :)
Hi Ness, Im actually working on a passion project with a friend on a children's book. My partner is the author while I do the illustration. We've made huge progress.
@@RaphaelAvant That's wonderful Raphael! What's the book about?
@@ArtBusinesswithNess Our book is about a star fish named Gus who is having a birthday and he is at an age where he needs to shine so he has to believe in himself.
Hi Ness, thanks for your video :) I'm working in my first one right now. I'm a painter most of the time, but I don't sell enough to make a living out of it. In one of my last exhibitions, I met a publisher, who is also a curator, and she told me she was interested in working with me. So now I'm working in this project, illustrating Victorian ghost stories written by women!
@@alejandrapardo8105 That seems like such a fun book, different and unique! Congratulations for the opportunity!
It was helpful that you described the difference between email and newsletters which made me aware to treat those as two separate marketing strategies.
Glad it was helpful!
I ended getting an advanced diploma in graphic design and basically had no luck in finding work related to it. I currently work part time for a municipality and they occasionally post graphic design jobs, yet every time I apply I get no responses. :( I’m going to keep trying, but it’s just very disheartening.
I do like illustration way more though and now I’m working on a portfolio for it. Tip 2, 3 and 5 are great! Thank you so much for the video, it was really helpful! ❤😊
I'm sorry to hear that! We have this perception that graphic design is an "easier" art job to get, but that's not often the case. There are a bit more in-house positions for graphic design, but it's also very high competition. You can also do freelance graphic design but then you have to do all the marketing, specialization and business running than you would have to do with any other freelance work, like illustration. Any art career will be challenging and competitive, but when the going gets rough, artists who are aiming for their real passion are more likely to persevere!
thanks for this video, i was watching your videos last night looking for this topic. just in time. love the way you explain
Thanks for stopping by, I'm glad this was helpful!
Hi Ness, a great informative video as always, another benefit I find from personal projects is that it keeps the momentum going and now I have a portfolio of more work I can show to Art directors. My first large commission was from a craigslist ad, haha and it was a decent gig. Very uncommon for craigslist, so I got lucky.
Wow really, from Craiglist! That just goes to show, opportunities come from the most unexpected of places!
Thank you for this video, it help me a lot!
Hi Laura, I'm so glad to hear it was helpful!
Thank you for the great video :) wishing you a beautiful week! And to answer your question, the only contract I’ve signed was with a friend’s relative who wanted them to recommend an illustrator. I did one advertisement illustration for them. Best wishes to you and to all of us artists :)
Fantastic, that’s a really great start and a great industry experience for you. Well done!
Somehow, RUclips recommended your videos to me. This video showed me a new path that I was completely unaware of. Thank you very much.
Glad it was helpful!
WOWWWWWWWWW!! most useful and informative video I´ve watched on this subject....thank you, it really gave me a couple of ideas I´ll be trying, since I´m a disaster finding myself a niche as an illustrator
You can do it! Best of luck!
Taking the Portfolio lessons and they are wonderful. You explain every step so clearly. Easy to follow and understand.
I'm so glad to hear you're enjoying the course!
These are all useful tips. As always, I love how you explained this information. I especially love the idea of working on your own project to help showcase your skills. I think that's a great idea! Especially since I'm always thinking of new ideas for little projects. Haha! :)
Glad it was helpful Cathie! ☺️ I’ve noticed there are always artists who are slightly more original than the current trend and they have so much to offer, but the companies don’t want to take a chance on them no matter how much they query. For those artists, doing their own project and proving that there is a demand for their art is a great way to break the cycle!
Love your videos so much! Keep up the great work :)
Thank you so much for stopping by Katherine, I'm glad you enjoyed the video!
Thank you for sharing Vanessa. This can be very frustrating most of the time because as they say, it is a marathon not a sprint race. I have tried the emails for years and got maybe one good response and Instagram is clearly no good. I have had the luck of finding some independent writers who like me and have come back for multiple projects... But in the traditional publishing space I have not seen a good response which has made me think that I might not be a good fit for the kidlit world but at the same time this is where I have found the most and best work I have ever had... So, not giving up just yet!!!
Sorry for the vent, I am not complaining just feeling a bit frustrated.
Thank you for the video, it is always fun to learn of the methods others have used to get work
Keep up the good work!
It is difficult! I've had good luck with the emails, but it's really a matter of being exactly what they are looking for, at the right time. It can be tricky! It could be your style is not quite on trend, or you're simply not querying the publishers that are a good fit. I would encourage you to work on your own book projects! If the publishers don't want to give you a chance, their loss! ;)
@@ArtBusinesswithNess Yup! As soon as I finish what I am doing I will start working on some characters for an idea I came up with!
@@jas_094 Nice!! You go, José!
@@ArtBusinesswithNess ☺
Great video! I was wondering regarding the newsletter, when you contact people who worked with you or showed interest in your work and you also mention even people who rejected your artwork, how do you write your message to sound professional and not spammy, specially for those who rejected your email in the past. I always worry I will sound unprofessional or even annoying and instead will end up turning off people. Thanks as always for all the great info you share 💖
Newsletters in our industry can (and should!) actually be really simple :) It's about the art, not about writing something interesting and witty. They really don't have time to read a newsletter anyway! I use my newsletter like an "automated pitch" of sorts. Just my newest artwork, availability, and maybe if I have some news like a new project coming out or something. Keep it simple!
Your videos are always helpful Venessa!!! 🎉❤
I'm so glad! I try to help 🥰
Thank you very much,Ness🙌
You're welcome 😊
Great Video 👍
Glad you enjoyed it!
I always imagined that the illustrator path is much harder than the graphic designer. It looks like I'm right.
There are more in-house studio jobs for graphic designers, and that's easier to get and to do. But being a freelancer is equally difficult for all professions! If you do freelance graphic design you have to do all this stuff too and it's hard...
@@ArtBusinesswithNess I'd like to double down on that. If you don't learn anything else on this video, understand that there is no magic pill for success. She's giving you a process that you can copy, paste and adjust to your own personal circumstances that will produce scalable results.
great share as always thanks !
Thanks for the visit hun!
Great tips, thank you Ness! I'm curious to know, what do you write about in your newsletters?
It's really quite simple! We don't have to write a novel or be very original each time, as most art directors are way too busy to read everything anyway. It's about showcasing your latest art, letting them know your availability, and sometimes news about your newest collaborations or products.
I got my first Job on Upwork
It's certainly possible to get gigs there, though it's very competitive and the rates there are much lower than industry standards. In the long run, it's not sustainable to use just that to build an art career.
@@ArtBusinesswithNess I agree, and as it stands, I have a list of publishers and agents to submit work to, and I am also trying to refine my work be up to standard as there is need for improvement.
@@LisaLaubach Best of luck, hun!!
@@ArtBusinesswithNess thank you!
Hi Ness! How can I find those agents?
If you follow a lot of professional artists, you'll see their agents in their bio or website. But also, you can just Google it :)
Do you thing it is the same in México?
It’s the same all over the world! Because as a freelancer you can work from any company in the world, you’re not limited to local companies. All business is done by email. I’m in Canada, but most of my clients are in the UK or US.
Hello! I didn't know you transition from children books illustration to licensing and pattern design. Why did you take this path?
Hi Julian! After 3 years working in picture books, I started feeling a bit tired of them. I realized that long-term projects like that (a book takes anywhere from 3-6 months to complete) kind of burn me out and I wanted to try something different that has shorter projects and more variety. It wasn't a sudden realization - I was quite confused and lost for a good half a year before I realized exactly what was going on and decided what to do next. I eventually discovered and fell in love with surface design and licensing. It then took me about a year to build a portfolio and find my footing in this new industry.
Hi Vanessa! I'm interested in both children's book illustration but also surface design and licensing, and maybe some editorial. Do you think it's possible to balance all these for exactly those reasons, a bit more variety in duration of projects and the market. Also I would be interested to see a video from you on how to create a portfolio for licensing/surface design. Do you get these projects from your agent or freelance on your own?
Currently I am building a portfolio for the children's book illustration first, I want to get into this market because I got bored of drawing pictures that were more aesthetic and less storytelling. But who knows how I will feel in the future haha. Which is why I'm open to SPD/licensing too.
Is your portfolio bootcamp more suitable for children's book illustration or can it be applicable for licensing too?
@@annoif8 Hi dear! It's possible to do multiple things, but I don't suggest starting with that. You'd have to make multiple portfolios, do company research in each market, have a different network in each market. It's too much work! Usually, an artist will focus on something to stay sane and so they can get somewhere, then maybe add a second market later on. Sometimes, even if you focus on a market you may still get offers for something outside of that market once in a while, and that's nice!
Although focusing is important so you don't get overwhelmed and can make some progress, you also don't have to stick to your chosen market for the rest of your life. You CAN switch later! I did 3 years in picture books, then switched to surface design. I think the important part is to focus on 1 thing AT A TIME :)
My bootcamp course is not market specific, so the strategies I teach can work for picture books or surface design. The bootcamp starts with an overview of the market and how to pick yours, then goes over building a portfolio, finding work, pricing, contracts, etc. I also have a mini-course specific to the picture book market that goes over exactly what you need in your portfolio to impress publishers. You can find that one here: www.artbusinesswithness.com/PPPcourse
@@ArtBusinesswithNess thanks so much Vanessa!! Love your channel! I've been watching many of your videos since I found you yesterday. The way you communicate your insights somehow just delivers and I instantly want to get to work and improve! It's also somehow helpful to know that you're also Canadian and we are in the same province. Weirdly enough I feel that you're relatable right away haha. And whenever I visit Montreal, my French Canadian friends have this style of communication like you which I find so refreshing! They are expressive and spontaneous and I always learn a lot from them lol.
Thanks for creating the portfolio prompt course. I'll be sure to get that!
@@annoif8 Wow hi there fellow Canadian! :D
Do you have any recommendations for an agency or agent?
It depends on your market! Different agencies specialize in different things. When I switched for picture books to surface design, I also switched agencies.
thanks for the valuable information, Ness. I have one question, do you pay agents beforehand or once they get work for you?
Do you know any agents that are more towards literature and crime illustration? thanks :D
Agents work by commission - they get you work and take a %. The money always flows from them to you. The exception is licensing agents who sometimes charge a yearly marketing fee to cover the cost of very expensive tradeshows like Surtex. There are literary agents that specialize like that by genre, but mostly for authors. For illustration agents, their focus is broader, like an entire illustration market (publishing or editorial for instance). Many illustration agencies even cater to multiple markets.
@@ArtBusinesswithNess could you make a video on where and how to hire an agent? Thank you in advance! ^^
@@ArningEchanoPH Agents have submission guidelines on the websites 🙂 Simply do a Google search to find illustration agents.
What’s the general opinion about Upwork?
It's very competitive which makes it hard to get work and drives the prices down. I find it much easier to email art directors rather than spend all my time fighting over crappy gigs..
How to email any company for design work please make this video and how to get clients from goggle,?
There are many strategies you can use, this is all a very long explanation but I go over it all in my online course: www.artbusinesswithness.com/level2