Warm Up Sketch 10/08/2017 – Pet Caterpillar in a Jar

Childrens Illustration, Drawings, Techniques, Warm Up Sketches


This one took longer than I thought it would – around 45 minutes. Just playing with colour and blending.

Warm Up Sketch 09/08/2017 – Rabbit on a Skateboard

Childrens Illustration, Drawings, Techniques, Warm Up Sketches


The colour and the shape are making him look more like E.T. than I was going for…

Warm Up Sketch 08/08/2017 – Baby Guinea Pig

Childrens Illustration, Drawings, Techniques, Warm Up Sketches


Warm up sketches help me to experiment or try new things first thing each morning. They’re not highly detailed or finished art – I usually spend anywhere between 5 minutes and half an hour just focusing on the thing/technique I want to learn more about. When I’m busy, it’s important to me to find time to do this because I lose track of myself, especially when working to prescriptive briefs or doing a lot of copy-artist type work.

Today I’m carrying on with my domestic animals study and trying a new eye shape – around 45 mins

Warmup Sketch 7/8/17 – Grey hair with backlight

Childrens Illustration, Techniques, Warm Up Sketches


Warm up sketches help me to experiment or try new things first thing each morning. They’re not highly detailed or finished art – I usually spend anywhere between 5 minutes and half an hour just focusing on the thing/technique I want to learn more about. When I’m busy, it’s important to me to find time to do this because I lose track of myself, especially when working to prescriptive briefs or doing a lot of copy-artist type work.

Today I was thinking about backlight and I tried a different eye shape – around 15 minutes.

Breaking Into Contemporary Children’s Illustration

Childrens Illustration, Illustration Camp Post, Resources, Tutorials

I have so many people ask me how to break into children’s illustration.

There’s a simple answer. Hard work.

There’s also a not-so-simple answer. Taste.

Hard work + taste pays off

Before you take the time to email a bunch of illustrators, or post your work in a public forum asking for advice, do your homework.

A couple of weeks ago, I had a friendly debate about good and bad illustration. My stance on it is that pretty much anything goes style-wise, but it’s the technical stuff that makes an illustration bad. Things like drawing a hand with the thumb on the wrong side (we’ve all done it). Then someone piped up about how Dr. Seuss often drew characters with overly-jointed legs, and thumbs on the wrong side. I said that was irrelevant (to their progress) because Dr. Seuss isn’t a contemporary illustrator.

Turns out quite a few people don’t know the difference between, or significance of, contemporary, modern, and classic illustration. That’s not great. I said a silent thank you for the Art History module that I hated at the time, explained as best I could, and then moved on.

And with that, here are a few things that may improve your chances of getting taken seriously if things just aren’t happening for you.

1. Research contemporary illustrators as well as classics. Both are important and should be researched, but you kind of need to be looking at your contemporaries if you’re trying to break into today’s market. Although I’m inspired by illustrators from bygone eras, I favour looking at what’s current because I’m completely commercial. I want publishers to want my work, not just to appreciate it in a nostalgic kind of way. If you’re from a fine art background, that probably feels weird because it’s the other end of the scale.

Get yourself into the mindset of illustrating for other people. A very specific set of people that you should have been given demographics for. You’re given these for a reason. When you’re doing portfolio pieces, set your own target market for each piece. If you’re working with a self publishing author and they don’t seem to know their bottom from their elbow, ask for their target market. If they don’t know what you’re talking about, walk away. It’s not going to be your big break.

(DISCLAIMER: I have had queries from self publishing authors who were exactly like this, not all are. I’ve self published myself,  here Birds: Birdwatcher’s Diary (things that I know about birds that I’ve seen): Volume 1 and here Dreams: Dreamer’s Diary (the strange little dreams I have): Volume 1. I have no beef with the SP brigade).

2. Don’t ask for advice on your work and then try and justify it when you get it because it makes you seem awkward. You can’t do that with books. You are not going to be sat behind every reader to explain the back-story that little Billy’s hand looks like a jellyfish because just before he sat down in this scene, he stuck his finger in a plug socket. It doesn’t work that way. Get over yourself and stop being lazy. Here’s a typical email exchange between illustrator and client.

Hi Judy,

Hope you’re good. Here are the roughs for Little Billy’s Adventures. Please let me know if you have any amends and I’ll get on that straight away.

Best wishes,

Max

———————

Hi Max,

These are looking good but Billy’s hand looks a bit weird in spread 5 – could you take another look that that please. I can’t quite tell that it’s a hand at the moment, it look’s like a jellyfish with the thumb on the wrong side. 

Best wishes,

Judy

———————–

Hi Judy,

No problem at all.

Best wishes, 

Max

————————

Note the lack of excuses. Unless there’s a seriously valid reason, or you passionately disagree, and your peers/agent (not friends and family) are agreed, bite your lip. Otherwise, be tactful and make sure there’s no chip on your shoulder.

3. If you’re going to reach out to working illustrators, and then they find time to reply, remember to be gracious. We’re all a bit time poor and a simple thank you is all it takes. And you also may want more help in future. 

4. Don’t undercharge or work for free because it devalues illustration in general. It’s a vicious circle that you really don’t want to get into. If you do free work for Client A, Client B won’t want to pay either. Client B won’t think ‘What wonderful work, I’m going to give this young go-getter a break’, Client B will think ‘Hmmm…anyone could have these illustrations because the illustrator sometimes works for free. Why can’t I have them for free.’ Publishing is a highly commercial business. You meet the most lovely people in the world, but it’s still a business.

5. You never stop learning, you always make mistakes, it’s just the way it is, you will never be totally happy with what you’ve done. Phew. If you ever feel like you’ve reached the top of your game, go on Twitter and look at the new talent coming up, still at school and uni. It’s very humbling and should also bring you right back down to earth, next to them, not above.

Further development to help you break in

I hope this post has been helpful. If you need an extra shove into sorting your portfolio out and taking a shot at your big break, I’ve made the Portfolio Crash available as a self led course because I don’t have a lot of time to to run the other version right now. Develop your knowledge and get your portfolio ready to submit to potential clients and agencies. You can find out more about the course content HERE

 

Self led course costs £25.00 (for the bargain hunters, that’s almost £100 discount)

Bloglovin!

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Just tidying my site up and adding a few news bits and bobs. Will be back to update and finally release the course very soon! Watch this space.

 

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What’s New?

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So a few months have passed and it’s safe to say that my ambitious social media plan didn’t quite work out. As much as it might seem as though I sit on my behind all day (kind of true), stuffing my face with biscuits (also kind of true), I do manage to fit a lot of work in.

After months of working on a mixture of rush projects and two larger ongoing ones, I’m tired. Great to be so busy, but exhausting. You hit a wall, a bit like runners do, when you get about two-thirds of the way through.

It gets particularly difficult when the sun comes out and you’re stuck indoors. Contrary to popular belief, we can’t just get up and relocate to the garden. Have you ever tried seeing a laptop screen when the sun is glaring? Or felt the power of a bright white sketchbook page on the old retinas? Not ideal.

Anyway, for the first time in a long time I have a bit of time before starting my next projects. I’m cramming in as much tidying, invoicing, administrating, portfolio-updating and general nose-arounding as possible. I’ve even checked Twitter. I’ve read some blogs about the constant self-doubt that surrounds authors and illustrators the world over. As much as these ‘rest’ periods make you feel like you’re slacking, they’re essential to stop you feeling burnt out. And you get to empty your head or just respond to things going on around you. Today, I responded to the#NationalGardeningWeek prompt on Twitter by creating this little thing.

 

Tomorrow, I’ve been told I’m going swimming. My youngest is enjoying my time off even more than I am.

I’ll report back soon.