02-21-2014, 05:31 PM
Ok dude...time to step back and breathe. Take deep breaths....in......out......in.......out.
Right, now here's what you do. Forget about getting a fucking job!
As counter-intuitive as it sounds, I think you are focusing waay too hard on that. Don't get me wrong, it's not a bad thing to tailor your folio, and know who you are pitching to and what they would like to see, but there is NO magic equation and being so stressed about what to focus on, is probably more detrimental to your work than you might realise.
Instead I would say, focus on having fun and working on something that fills YOU with passion. Something that you are excited about, not something you think somebody will want to see. It is those pieces that get you work...absolutely without doubt. My best piece to date, was one that I did in only 8 hours, it flowed, I didn't even think about it, it wasn't for any purpose, it was just purely for my own enjoyment. I was a bit surprised how much people liked it, but actually it makes sense. They like it, because I loved the process so much and it wasn't done out of a stress of having to deliver, and it shows through in every brushstroke and design choice
I remember seeing your posts about finishing something like 50 characters in two months or something like that, and honestly, thought "that's a good way to suck all the good juice out of the work".
Ok so definitely don't try so hard to "toe the line" of whatever the fucking line happens to be...eg I see so many people now say they want to do applibot work (I personally mostly don't rate their work anyway...uber detailed over rendered ughh, except for a few) and try so hard to nail that level of render. Nothing wrong with it, except trying sooo hard to replicate something as a final goal in a creative field isn't necessarily the best way to go about generating a unique take on things in my opinion.
In terms of what gets you work...well....no one will hire you if you don't put yourself out there. As this is a crit of your folio, I imagine not many people have seen your stuff yet? Have you networked, marketed, harrassed art directors and studios? Getting work, is a full time job (almost) in itself. For every hour painting expect to spend another hour and probably more in marketing and networking. This is the reality of breaking into freelance. Once you get more clients and you start developing repeat business and a rep...then it gets a little easier I think. I used to freelance more a year ago, and I got most of my jobs by approaching people. Some approached me, but only after my stuff had been out in various places.
I stopped doing that, because I work full time (non art related job) and I couldn't juggle both freelance deadlines, the job, and have any semblance of a life at the same time. Since then, with no marketing, no networking besides posting on a few sites, how much work do I get? NONE. Well almost none, but effectively none. So key point is, as hard as you work at painting, put at least that much effort into the business side, or nothing will happen.
I think it's ok to aim for the low paying to start with. It's certainly an experience and builds your confidence (and wracks up the horror stories for your freelance artist dues) but I would recommend that always keep in your mind that you should accept and do work that you are genuinely interested in, or it will quickly become a hell job, like any other. I learned that the hard way.
Don't lose faith man. I've been doing this seriously for 2.5 years and only now am I scratching the bottom level of decent professional gigs, but I first got the idea of illustration at least 5 years ago if not more. It's a long journey. It's tough. The thing I've learned the most is, enjoy yourself. This is so key. Stress does not help you out. So if you want to do props, do props. If you want to do vehicles do vehicles. If you want to do fairies blowing bubble kisses to their unicorns, do that. From what I've heard, most large studios (especially for movies) actually prefer generalists more and more over the specialists. It's cheaper to hire one guy that can move across areas, than three that can only do 1 thing. Of course if you have a preference push it..because it will show in your work.
And yeah, luck is one of those things that certainly plays a part in getting your break...I firmly believe that, but it is about knowing how to put yourself in the right situations to be more lucky, if that makes any sense?
Right, now here's what you do. Forget about getting a fucking job!
As counter-intuitive as it sounds, I think you are focusing waay too hard on that. Don't get me wrong, it's not a bad thing to tailor your folio, and know who you are pitching to and what they would like to see, but there is NO magic equation and being so stressed about what to focus on, is probably more detrimental to your work than you might realise.
Instead I would say, focus on having fun and working on something that fills YOU with passion. Something that you are excited about, not something you think somebody will want to see. It is those pieces that get you work...absolutely without doubt. My best piece to date, was one that I did in only 8 hours, it flowed, I didn't even think about it, it wasn't for any purpose, it was just purely for my own enjoyment. I was a bit surprised how much people liked it, but actually it makes sense. They like it, because I loved the process so much and it wasn't done out of a stress of having to deliver, and it shows through in every brushstroke and design choice
I remember seeing your posts about finishing something like 50 characters in two months or something like that, and honestly, thought "that's a good way to suck all the good juice out of the work".
Ok so definitely don't try so hard to "toe the line" of whatever the fucking line happens to be...eg I see so many people now say they want to do applibot work (I personally mostly don't rate their work anyway...uber detailed over rendered ughh, except for a few) and try so hard to nail that level of render. Nothing wrong with it, except trying sooo hard to replicate something as a final goal in a creative field isn't necessarily the best way to go about generating a unique take on things in my opinion.
In terms of what gets you work...well....no one will hire you if you don't put yourself out there. As this is a crit of your folio, I imagine not many people have seen your stuff yet? Have you networked, marketed, harrassed art directors and studios? Getting work, is a full time job (almost) in itself. For every hour painting expect to spend another hour and probably more in marketing and networking. This is the reality of breaking into freelance. Once you get more clients and you start developing repeat business and a rep...then it gets a little easier I think. I used to freelance more a year ago, and I got most of my jobs by approaching people. Some approached me, but only after my stuff had been out in various places.
I stopped doing that, because I work full time (non art related job) and I couldn't juggle both freelance deadlines, the job, and have any semblance of a life at the same time. Since then, with no marketing, no networking besides posting on a few sites, how much work do I get? NONE. Well almost none, but effectively none. So key point is, as hard as you work at painting, put at least that much effort into the business side, or nothing will happen.
I think it's ok to aim for the low paying to start with. It's certainly an experience and builds your confidence (and wracks up the horror stories for your freelance artist dues) but I would recommend that always keep in your mind that you should accept and do work that you are genuinely interested in, or it will quickly become a hell job, like any other. I learned that the hard way.
Don't lose faith man. I've been doing this seriously for 2.5 years and only now am I scratching the bottom level of decent professional gigs, but I first got the idea of illustration at least 5 years ago if not more. It's a long journey. It's tough. The thing I've learned the most is, enjoy yourself. This is so key. Stress does not help you out. So if you want to do props, do props. If you want to do vehicles do vehicles. If you want to do fairies blowing bubble kisses to their unicorns, do that. From what I've heard, most large studios (especially for movies) actually prefer generalists more and more over the specialists. It's cheaper to hire one guy that can move across areas, than three that can only do 1 thing. Of course if you have a preference push it..because it will show in your work.
And yeah, luck is one of those things that certainly plays a part in getting your break...I firmly believe that, but it is about knowing how to put yourself in the right situations to be more lucky, if that makes any sense?