Becoming a Professional, Freelance Artist

How to Become A Professional Artist with Lindsey Jo Scott

Have you had to urge to leave your full-time position and pursue your love of art full-time? Today, with the help of local artist, Lindsey Jo Scott, we explored what it means to be a professional artist and what taking the plunge involves. Here are some lessons learned from both our and her experiences that we’d like to share with you. Make sure to take the time to watch the Facebook Live chat with Lindsey Jo before you leave, as well as to follow Lindsey Jo on her official site, Facebook and Instagram.

mural work by http://www.lindseyjoscott.com/

Understand that there may not always be a clear path.

It’s romantic to think that there will come a day when you’ll know it’s time to burst out of the office and into your new creative career. But things aren’t often so cut and dry. Some artists blindly take a leap when they feel inspired, while others are much more cautious about transitioning to full-time artist. The recommend is often that you hold onto your day job until your client base is so full that it forces you to quit. The more cautious you are with your business moves and finances, the better off you will be in the long run.

mural work by http://www.lindseyjoscott.com/

And while you’re still employed full-time, take notes.

You may very well be working ten jobs, counting down the moments until you can go off on your own and “do this thing,” but until then, you have a golden opportunity. You are working for another entrepreneur / business owner, so take notes. Be mindful of how they are running their business. What is working? What is a big old disaster? If your boss or manager tasks you with some big responsibilities, take them and run with them. This is a fantastic chance to get in the trenches early and learn what it means to run a business before having full responsibility. Whatever you do, do not waste this time simply hating on your job and watching the days pass you by. Ask if you can learn about how your boss runs their metrics, how they invoice. Ask if you can sit in on the hiring process and if you can try your hand at designing some of their social media graphics. They’ll be impressed and you’ll be learning on their time. Win, win.

work by http://www.lindseyjoscott.com/

Reach out to other artists for support, to share resources and to mentor/to receive mentor-ship.

Once you’re out on our own, it is important that you reach out to other artists in your community for support, to give and receive resources, and to mentor or receive mentoring. Here in Cleveland, our artistic community is thriving and events pop up every other evening for artists, designers, dancers, musicians, poets, writers and more! Look out for these resources in your city on sites like Meetup.com. You can, of course, also find them online – Facebook is a great place to start.

In a pinch, as Lindsey Jo will mention below, podcasts are also a great way to find inspiration without even leaving the house. Some of favorites include:

Art + Biz type Podcasts:
Jealous Curator: Art For Your Ear
THRIVE Talks Podcast
Art & Cocktails
Creative Pep Talk
Magic Lessons with Liz Gilbert
Making Ways
Creative Empire Podcast
Podcasts she listens to while working: 
On Being with Krista Tippett
Typology
Growns Ups Read Things They Wrote as Kids
Oprah’s Super Soul Conversations
Tara Brach
Getting Curious with Jonathan Van Ness
Freedom Seeker Chronicles

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Good luck, friends! Now, let’s meet Lindsey Jo!

Album Cover Artwork Throughout the Decades

First off, let me start off by saying, I am a lover of Album Cover Artwork.  And I don’t mean some dump-ya-after-3-dates kinda lover, but a put-a-ring-on-your-finger kinda lover.  ;)  I have read a crazy amount of books on the subject, studied designers and artists that I love, and now I am attempting to build a shrine in their honor and using this post as my medium.

Album cover artwork has come a long way throughout the years.  We all are probably used to the computer made designs of today, but we can’t forget the album cover artwork created before technology made things easier.  My attempt with this showcase, is to illustrate that album cover artwork has been awesome for decades, so check out this post for album cover artwork from the 1940s to present day.

1940s

1950s

1960s

1970s

1980s

1990s

2000s

For further reading, check out these publications:

We Love the Hype – Glen Infante of iLTHY

This is the first of many posts featuring the artists and designers involved at Weapons of Mass Creation Fest 2011. Some very cool people. Today we’re featuring Glen Infante, designer and illustrator and founder of I Love the Hype. If you were (or were not) at the gallery at WMC Fest, you must have noticed (or missed) two things:

  1. One of the tables had a (free) claw game on it.
  2. The picture of the nude smurfette on the wall.

Both of these belonged to iLTHY. Clearly, they’ve got an interesting little setup that you just have to take notice of.

Glen Infante, founder of I Love the Hype (iLTHY), has become an established figure in the Cleveland music scene as the designer behind rappers Machine Gun Kelly, Chip Tha Ripper, and Kid Cudi, among others. From being a designer at HotCards.com to developing a website to generate funds for a billboard of LeBron James to try to keep him in Cleveland, Infante has proven himself to be a versatile and capable designer. His intent was never even to start a business, but to sell shirts on RealCavsFans.com. However, by January of 2010, iLTHY was a legitimate company and one of the top artistic forces from the Midwest.

When asked what he thought of WMC Fest, he acknowledged that he hadn’t had the opportunity to be part of something like this and didn’t know what to expect, but that he wished it would happen more than just once a year, explaining that he got to be a part of something that wasn’t purely client work and “I feel like an artist again.”

When asked to describe his work, he described it as “cartoon-y” and “bright” and expressed a love of vibrant pieces. He went on to say “My art is very simple. I don’t do a lot of intricate artwork…very thick lines, not a lot of detail…I can do a lot of detail, but I really don’t have the patience.”

For you designers who aren’t so into drawing things with a pencil, it’s ok. While Infante can, he mentioned “I don’t really like to draw with my hands a lot, but if I do, it’ll be a quick sketch and I try to make that quick sketch the coolest quick sketch I can make.”

It’s not surprising then that when asked about where he draws inspiration for his work, he described watching cartoons with his father when he was a kid and how it often came back to what caught his interest during his childhood. “I’m bringing all that stuff back.”

What I learned:

  • Don’t use filters. You’ll lose street cred and look n00bish.
  • Don’t get sidetracked. You could lose a lot of time and delay a great career.
  • If you’re good at art, do it a lot. You’ll always have that talent, but when you get older, you’ll start forgetting things. Keep it fresh.
  • Showcase as much as you can. Just show off your art.
  • Just make things. A lot of things. It’s the best way to become great at what you do.

Check out Glen at gleninfante.com, follow him at @ilovethehype, tumble with him at gleninfante.tumblr.com, and buy stuff at ilthy.com.

Also, I managed to snag a picture with him.

Interview: Illustrator Ray Frenden

This interview was initially published in the Go Media Forum but we decided it was relevant to all our GoMediaZine readers as well.

Ray Frenden the Artist. I think it’s necessary to put this all in context with a brief overview of the insane force of nature that is your work. What is it that you do, how did you carve out a name for yourself, and what are you currently up to?

The usual spiel I trot out for these sorts of occasions is that I’m a self-taught illustrator with a penchant for monsters and the macabre who draws things for money and likes to write. I was weaned on old horror comics, pulp fiction, and sci-fi. I’m a bit of an anachronistic fella. I’m not big on current pop culture and I’ve always felt a bit out of place and disjointed from it. That separation started as a default state when I was a kid and became a conscious choice as an adult when I moved to rural Illinois after having grown up in Chicago proper. I like seclusion and am most creative when I’m alone and distractions are at a minimum.

Outside of your work, what do you like to do, what causes are you interested in, and what do you think defines you as a person? Basically just, who is Ray Frenden?

I spend the majority of my free time working with animals. My wife operates a trap, neuter, return service for feral cats – we catch cats and get them fixed and put them back in their natural environment. She runs a cat shelter too. More info on that, if you’re curious about cat overpopulation and the difference between a feral and a house cat, can be found at my wife’s site, http://cattaxi.org.

Our rural shelter developed a relationship with several city shelters. They get a lot of farm animals that either are gotten as pets and abandoned or escape from live markets and are caught stray in Chicago. They have neither the capacity or resources for farm animals in the city so my wife and I snag them. Whatever we can’t place on local farms ends up being an addition to our motley crew of misfit animals.

I’ve currently got a couple dozen chickens (reformed fighting birds and rescued laying hens), five ducks, four dogs, a gaggle of barn cats too feral to be placed into homes, fourteen house cats, three sheep, a piglet (and not some pot belly pig, a real pig that’ll weigh a veritable ton eventually), and a horse.

Our latest addition, the aforementioned piglet, fell off a hog truck on a busy interstate. The little fella is barely four pounds and is covered with road rash. We’ve got him on piglet milk replacer and he’s living in my home office. The animals make for a lot of responsibility, but I dare say they’re a more rewarding part of my life than commercial illustration. If rescuing made money (rather than sucked it out of my pocket), I’d devote myself to it full time.

Current art. What currently holds your interest? What techniques are you enjoying using? What subject matter really gets your gears turning?

Inspiration-wise, I just got back from a trip to D.C. The National Gallery had an exhibit featuring the masterworks of German artists. Lots of great charcoal, wash, and ink drawings. Those fellas really appreciated preliminary work. Seeing those studies reminded me that the drawings which are important are the twenty you cut your teeth on. It’s hours spent gesture drawing and drawing from life that most will never see that separate the good from the great. I’m still learning that myself. I get impatient and want to rush ahead and forego the preliminary work. Whenever I spend the time to do studies, make a maquette or take photo reference, and really plan a drawing, things go smoother. I’m continually inspired by illustrators from the golden age of illustration such as Noel Sickles, Milton Caniff, Mort Drucker, Johnny Craig (perhaps my first exposure to the sort of work I do and easily my first inspiration and biggest early influence), Alfredo Alcala, Pete Hawley, N.C. Wyeth, Howard Pyle, and Frank Frazetta. Everyone loves Frank’s paintings, and rightfully so, but it’s his brush and ink work that floors me. Most of these guys can be seen on the inimitable Leif Peng’s Flickr account here if curious: http://www.flickr.com/photos/leifpeng/

Materially, I’ve been mixing up my usual Rosemary and Co. sable brush and ink work with some Japanese manga nibs from JetPens. Using the techniques in the Famous Artists Course, I’ve used transparent layout paper as one puts separate elements of a piece on different layers in Photoshop. If you sketch the primary elements on a transparent paper, you can arrange them for the most pleasing composition, scan them or tape them together, and print them or transfer them onto your final substrate for inking. I’ve been doing my spot colors this way and will have a 100% traditional process soon aside from the scanning and bundling of the file for clients. It’s not too dissimilar to what the proto-illustrators of yore did to prepare “camera ready” artwork.

My work has been moving to a more realist, painterly style for some time. I’ve been practicing that style digitally as I’ve not got the ideal setup in my home office for busting out oil paintings. I’m hoping to change that and start working with real paints soon. In the meantime, I practice mass drawings and am interested in seeing where mass drawings and lineart intersect. I’ve done some experimentation marrying the two to varying degrees of success.

I want to be trying new things constantly. I get bored easily. If I’m bored, I create boring work. I’m not worried about confusing art directors by displaying a myriad of styles. That may be a good rule of thumb for most situations, but I can’t adhere to it. It’s not in me to be comfortable with, and willing to stay true to, one style.

You are the go-to guy when it comes to questions about Art Programs. Any suggestions for budding artists as to how they should approach the topic? Personally, I feel like it’s better to develop the skills on paper and then find a program that helps you to more easily convey your own personal style. I know that you really explored your art mainly through the tip of a Stylus early on though. What are your thoughts on the matter?

This is tricky. I’ve seen both sides. I drew a bit as a kid traditionally, but I really learned most of what I know on a tablet. If you watch some of my old tutorial videos, you’ll hear me wax poetic about my love of digital art.

I started to hit a few semi-local art meet-ups hosted by my friend Charlie Athanas featuring the likes of traditional heavy weights like Dave Dorman. I asked questions about traditional art supplies and the same curiosity that urged me to learn more about digital art kicked in. I didn’t even know what the gradations of pencils meant. Asking Dave Dorman what a 4B pencil is is sort of like asking Lance Armstrong what a pedal is. To he and Charlie’s credit, they fielded some pretty obvious questions and never made me feel stupid for asking. Dave recommend I read George Bridgman and Charlie really helped me on the art supply side of things. About that same time, I started a dialog with Coop of all people about traditional inking. Those guys are passionate about their methods and that sort of thing rubs off. I was hooked.

I learned that a five dollar synthetic brush and a two dollar bottle of ink was more accurate than my $5400 worth of MacPro and $2000 Cintiq. (http://frenden.com/buyers-remorse/) I was making prettier lines traditionally in a week. I felt good about my progress when Michael Cho (a fantastic illustrator and kindred spirit when it comes to all things linework) told me that most guys take years to get that level of traditional control. I was flattered. The digital practice carried over towards traditional skills. That’s my only explanation. Muscle memory is muscle memory. A stroke is a stroke, be it via stylus or brush.

I cut my teeth on digital. I see its uses. I still employ it here and there. It’s fast. But I’m pretty sold on traditional art. More accuracy, more life in the lines. They’re both tools. Learn both. Each has strengths.

You’re releasing some brush settings, which is very cool of you. Do you have any reservations about this at all? I remember when you first released your Manga brushes on Emptees and about 9 million people started aping you. I’ve met lots of artists who are very insecure about releasing their process and techniques. How do you feel about it?

I had a very open policy about that sort of thing. Before I became a full time commercial illustrator, I toyed with the idea of releasing all my works into the public domain. I’m a reluctant capitalist at best.

I offered a lot of tutorial videos and brush settings and developed a bit of renown (insofar as an illustrator can – we’re talking about a pretty small niche of interest here). I was surprised at how closely some of the derived works were to my own.

I need to be in a constant state of evolving and it’s petty to be threatened by those who want to learn from you. If they catch up to you, so what? Great, I say. Being scared of that is like admitting you have no more room for personal growth. I’m no advocate for finding a style and sticking to it come hell or high water. That sounds like a boring existence to court.

I’m self taught (http://frenden.com/hindsight-is-2010/). If it weren’t for other artists sharing their trade, I’d be nowhere. My favorite sources of instruction are Harold Speed, Bridgman, Hogarth, Vilppu, Loomis, Will Eisner, Preston Blair, James Gurney, and, grouped together, the Famous Artists Illustration and Cartoon Course crews. With their examples of spreading vast wealths of knowledge, I’d feel pretty small for not spreading what little I do have. There’s a tradition of shared knowledge that is bigger than any commercial concern or personal insecurity that one might have.

Ray Frenden the Future. What’s on the horizon for you as far as work and plans? What are your future aspirations and goals? I’ve heard you have a large interest in designing for 2d gaming, can you tell us a little about that?

I originally got my Wacom to make pixel art. I worked in the games industry making 2D, sprite based art and UIs for a casino games company for about a year, you can see some of the work on sites like https://www.bestuscasinos.org/legal/delaware/ who feature a lot of it . I still love games and enjoy thinking up game systems be they for video games, collectible card games, or even board games. My two areas of intense interest have almost always been comic books and video games. Comics were more of my focus as a kid and games more so as an adult.

I want to move away from making art for other people and start working on my own ideas in both those areas. I hope I can do that.

Any final thoughts, tips and suggestions for aspiring artists, or general tomfoolery?

I got asked this on Formspring the other day. I’m regurgitating part of that answer here because I think it encapsulated my feelings on the topic in a more pointed way than I’m typically able.

As far as getting into the market is concerned, be patient, work hard. Put your work in everyone’s face and be an aggressive advocate for yourself. Be your harshest critic but also your biggest fan. Otherwise your insecurity will eat you for lunch. You owe it to your potential to not beat yourself up and stifle your growth.

Style wise, try not to think about it. If you’re drawing all the time, that will come naturally. You will make the marks that feel right to you. The ones your muscle memory has absorbed and saved and cataloged are the ones that add up to a style.

If you want to spread across the tubes and get attention, being memeful helps. Make images that are loaded in advance to appeal to one demographic or another. If you make art about video game characters, video game blogs might talk about it, etc. It’s a cynical stab at self marketing at its worst, but a genuine expression of interest in a given topic at its best. I see peers having great success with jumping on the story of the moment and making art to match.

“I’M WITH COCO.” That image was everywhere a few months ago.

More importantly than anything else mentioned above: do what you love. It shows in the work. That will get you more attention, more deserved attention, in the long run. We live in a plastic world that places a high value on moments of fleeting authenticity. Being yourself is the best way to stand above the pack. Knowing who you are in the first place is the hard part.

Ray Frenden the Contact. I just wanted to say thanks for taking the time to answer questions, and for helping out on this particular project.

Flickr: http://flickr.com/photos/rayfrenden

Twitter: http://twitter.com/frenden

Website: http://frenden.com

Forum/pals: http://styl.us

Erika Simmons: Ghost In The Machine


ghost-in-the-machine-simmons-header

Erika Simmons’ ‘Ghost in the Machine’ series is an imaginative approach to image creation/illustration. The concept of incorporating elements of the subject matter as the medium is a great example of thinking outside the box. The use of the cassette tape forces the viewer to envision the process, which thus incorporates an element of the passage of time—intrinsic to the experience of music—into the artwork. The idea of introducing the element of time into musician-themed artwork has echoes of Denny Dent’s “performance portraits”.

ghost-in-the-machine-jimi-hendrix-iri5

Tell us a little about yourself…

I’m a 25 year-old woman who lives in Georgia. I am a self-taught artist. I try to focus on using found materials, or donated materials. A lot of my supplies come from places like Goodwill.

I try to make things that showcase some idea, through simply cutting up and re-arranging the pieces of everyday items, like cassettes, old books, or even credit cards. Basically anything I can get my hands on! I like working with these older, strange materials because they have a mind of their own, and come with cultural connotations for me to play with—like a springboard for your imagination.

ghost-in-the-machine-marilyn-monroe

Art school or self-taught?

I never went to art school or took any traditional art classes, but I did go to college and make up school. I waited tables to pay the bills for years. While I was working at the Hard Rock Hotel in Orlando, the idea struck me to make some musically themed art. I had some old cassettes laying on top of a blank canvas… that’s how it all started! Mostly luck and a lot of hard work.

ghost-in-the-macine-robert-smith

What inspires you?

My greatest inspiration comes from big ideas… mostly those found in science and psychology. It is endlessly fascinating to begin to understand how we organize the world around us, how we come to understand meaning in things.

ghost-in-the-machine-bob-dylan

How did you develop the cassette tape series? What was your inspiration?

The cassette tape series came out of a desire to explore a theme of recursion… tangled hierarchy. Where is the music? On the cassette tape? In the head of the musician portrayed? Where does one begin and the other end? But you don’t have to look at it in that way to enjoy it. I tried to make something fun and easy-to-understand, but with deeper things to think about, if you so choose.

ghost-in-the-machine-the-clash

‘Ghost in the Machine’ series—the process

To make a cassette tape portrait I draw the desired shapes. Then I glue down the tape in the desired shaped that I have drawn. For my favorite ones, I attempt to cut the tape as little as possible, to make it look like it has just sprung from the case mostly intact. I fold and sculpt it into place and twist it to give the illusion of a thinner line… it takes forever, but I love it.

ghost-in-the-machine-michael-jackson

Upcoming projects and shows

Some upcoming projects… I’ve got a charity gallery show I’m participating in at UCLA October 4th with REVO. I’ll be there to help support the need for education in Papua New Guinea. Please come if you are in the LA area!!! We’d love to have you.

I’ve also begun experimenting with other media. Right now I’m using different rope textures to make portraits. Tomorrow I’ll be doing something else, I’m sure. : )

I love to do custom work for people, so if anyone ever wants to shoot me an email and bounce an idea off of me, please email me! Thanks again!

Erika’s artwork can bee seen on her website at iri5.com as well as on her Flickr account.

erika-iri5