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[dearartdirector]

Hi! I'm currently illustrating a book for a client. It's not the style I'm trying to build my career on, and it's in general a bit weird. I'd like my name to be associated with my personal style and work only, so I don't want my name on this book. But this client is furious and keeps insisting I have to send them my photo and bio to include in the book. My question is, is anonymity my right in this situation, if this issue was never mentioned in the contract?

If this is a picture book, then having the illustrator’s name and bio (but not necessarily photo) is standard. If this is just a book cover, then usually the illustrator’s name is mentioned on the back cover and the copyright page, nothing more. If the case is the latter, and the client is still insisting on your photo and bio, politely let them know that that’s not “industry standard.”

If this is a picture book or a graphic novel or something, well, it IS industry standard to include the illustrator’s name, and if you insist on being anonymous then you’re the one making things weird. That’s like asking your date not to tell anyone that you’re dating. They will, understandably, be insulted.

The good news is that, unless this book goes viral or becomes a bestseller, it isn’t going to define your career. You don’t have to put any of this work in your portfolio or post about it on social media. (Unless that’s part of your contract.) Having one project out there in a different style won’t determine your career forever, but you’ll have to course-correct by producing new portfolio pieces that ARE in your preferred style. Eventually the “a bit weird” book will drop down in the Google search results and in your memory, like that person you once dated who was also “a bit weird” and you’d prefer to forget.

-Agent Thumbnail

[dearartdirector]

I am an illustrator and sometimes I have a hard time separating myself from my work. I have been invited to work on a project connected to a best-selling writer whose books I don't care for - it's not that they are hateful or bigoted... Just bad literature, although the author does sell a lot. There's decent money in it and a lot of potential to reach markets I want to get into. Would I be looked down on by art directors and others if I accepted such a gig? Where does one draw the line?

You’re overthinking this.

No one is going to judge a cover by its book, or judge an illustrator by the author. Unless you’re illustrating something super objectionable, like, I dunno, a pamphlet for the KKK, art directors DO NOT CARE. We’re used to working on stuff that isn’t our personal cup of tea. That’s called being a professional. If this author is having success and making money, and you can get on that train, cool.

As we’ve said before, AD’s mostly care about the quality of work in your portfolio, and whether you’re easy/reliable to work with. We don’t have the time to sit around judging your every career move.

-Agent Thumbnail

[dearartdirector]

Dear ADs, this blog is such incredible help, thank you so much! I was wondering if you could help me with one issue: all artists say to draw daily, which I fully get. But this summer I work full time in mentally-draining place, while in afternoons I help my parents with physically exhausting farm. No surprise that I'm barely alive come evening. Is it okay if I take weekdays off drawing, or should I feel guilty and try to push regardless? When is it time to slow down without loosing progress?

Ok, I’m about to blow your mind: most artists, even the pros, don’t literally draw every single day. They may have side jobs, kids to take care of, holidays to celebrate, trips to take, or - gasp - other hobbies to pursue! So when you hear artists say “draw every day,” know that it’s kind of hyperbole.

Am I saying that most artists are hypocrites? Yeah, I guess I am. Hey, what’s the fun of being in a secret consortium of anonymous advice-givers if you can’t do the occasional callout?

Anyway, the secret to reaching a professional level of skill is putting in frequent hours of practice over many years. It’s a lot more hours than most people realize, and that’s why artists say “draw every day” - they’re trying to make a point that you need to draw A LOT. If you can actually draw every day, great! If you can’t, well, that just makes you a normal person with a life!

But like I said, if you want to become a professional artist then you DO have to find a way to get those hours in, even if you can’t do it literally every day. I know you submitted this question and while ago, and it’s not summer anymore. But if the summer farm job is going to be a regular thing for your foreseeable future, you may want to think in seasons. Perhaps during spring, fall and winter, you make it a goal to draw every day and take art classes. But during the summer, you only draw on weekends, to keep your skills from getting rusty.

I know it can feel like you can never compete with those flashy artists on social media who seem to pop out a new drawing every day. At those times, remember the tortoise in Aesop’s fable. You are the tortoise. What’s important is to keep yourself healthy and drawing over the long-term.

Take care of yourself. Remember who wins the race.

-Agent Thumbnail

[dearartdirector]

Dear DAD, thanks so much for for your work on this blog! If it's not too much trouble, could you help me with a (probably dumb&overthought) issue? Would it be too unprofessional to ask ADs or pro artists not so much for a portfolio review but for a general 'is it worth trying' opinion? I realize time&pracitce can do wonders, but I'm in a very confusing and scary point in my life, and can't objectively say if my art is worth the stress and effort to pursue or if it's better to not aim too high.

Yeah, that would be unprofessional. We’re not your career counselors, personal life coaches, or oracles who can predict your future.

If you’re looking for someone to tell you whether you’ve got “talent” - I got some bad news for you. People throw around the word “talent” really loosely, not everyone agrees that it exists, and plenty of successful artists were told at one point that they had no talent.

You understated it when you said, “time & practice can do wonders.” Time and practice are nearly everything. Even if your art is terrible and everyone hates it, that doesn’t mean that you’re doomed to fail. It just means you need a lot more time and practice. That’s why no one can answer your question “is it worth trying?” - because they don’t know how much effort you’re going to put in.

(See Yuko Shimizu’s outstanding blog post, “Whether you make it or not is never about talent.”)

I’m sorry to hear that your life is in a confusing, scary place right now. But choosing an art career doesn’t have to be a scary, risky leap into the unknown. Empower yourself with information. Research different paths in the art world - 2D animation, 3D animation, concept art, editorial illustration, book illustration, children’s products, fine art, medical illustration, etc - and see what interests you. Learn more about the daily life of professional artists by reading blogs like Muddy Colors or listening to illustration-related podcasts. Start taking some art classes and see how you like them. Once you shed some light on what a possible art career is like, you can make your own decision rather than asking others to make it for you.

-Agent Thumbnail

[dearartdirector]

Dear AD, I've been updating my portfolio here lately but realized a LOT of my recent work I was hired for had adult themes. Nothing overly pornographic, for example I have an illustration of a couple naked in bed. All you see is her breasts and his butt really. But it got me thinking if it is my newer work and better work is it appropriate to put in my porfollio? Do ADs look down on nsfw-ish pieces in portfolios? Would that pigeon hole me as a nsfw artist?

ADs don’t look down on a little artistic nudity, or suggestive themes in a portfolio. But if that’s all your portfolio contains, we’re going to think that’s all you’re interested in drawing. As we’ve said many times on this blog: you will be hired to do the kind of work that’s in your portfolio.

If you don’t want to do NSFW art at all, then leave all your NSFW art out of your portfolio - even if it’s your newest and best work. Create some new portfolio pieces in your spare time that represent the kind of work you would like to do. 

If you don’t mind doing NSFW art, but you don’t want to be pigeonholed by it, then put it in a separate page on your website, clearly labeled “adult” or “NSFW.” Then - you guessed it! - use your spare time to create new portfolio pieces for your website’s main page.

Yes, your portfolio is going to look a little sparse while you work on creating new art and rebranding yourself. That sucks, but it’s the price of climbing out of an artistic pigeonhole. Every artist has probably had to go through some version of this process at one point. As long as you get cracking on creating new and awesome work as quickly as possible, it’s only temporary.

-Agent Thumbnail

[dearartdirector]

this might be overthinking but-- i can't seem to get my friends interested in what i'm creating and it feels difficult to ask strangers to be interested in my work when the people closest to me are not. i know not everyone will love what i love but should i consider that my work might be boring and try some new things even if it isn't exactly what i want? or is it more important to keep working towards what i love and want? thank you very much for your time

Friends and family are terrible judges of art. They just are. Maybe they love your art - maybe they insist that it’s the best they’ve ever seen, no really, you’re so talented, you should be, like, famous!! Or maybe they tell you that your drawings are a foolish waste of time and you should give up and pursue a “real job.” Either way, they’re not speaking as professional artists or art directors. They’re speaking from their own limited experiences and personal tastes. Don’t judge the value of your artwork based on how much (or how little!) enthusiasm they show.

There’s a difference between the art that clients want to hire and what your family and friends will personally respond to. If you want to be a professional artist - and I’m guessing that’s what you meant by “asking strangers to be interested” in your art - then clients’ opinions are the ones that matter - after all, they’re the ones writing the paychecks, not your friends.

For example, maybe you drew a super historically accurate illustration of a Viking burial plot, because that’s your jam, that’s what you love, that’s what gets you out of bed in the morning. And maybe your friends look at it, say “cool drawing bro” and then go back to scrolling on their phones. But if you sent that illustration to Smithsonian or National Geographic magazine, or a publisher of history textbooks or something - now they might be very, very interested. Do you see what I’m saying?

Whatever it is you love creating, there’s an audience - and probably potential clients - out there. Think about what you want to do, and throw yourself into becoming really, really good at that thing. It’s so much healthier than fixating on other people’s feelings, which you can’t control.

Next, if you haven’t already, make friends with other artists. That might be by signing up for art classes, or local meetups, taking an online course, or attending some conventions. Find your tribe. They’ll love hearing about your work, sharing critique and feedback, and collaborating on projects, and this will be invaluable for boosting your confidence and motivation.

I hope that helps, Anonymous.

-Agent Thumbnail

[dearartdirector]

Hello, I'm just starting college and wanting to go into the illustration/animation field (majoring in both), and I'm honestly really lost! I have no idea what a portfolio would be, for one. I have my social media account, which has all of my work on it (sketches and fully colored pieces), and I have my personal notebook. I've never drawn any loose leaf pieces because they always get ruined or lost. Could I use my social media/notebook as an entire portfolio? Or would I need to cut out stuff?

A portfolio is a digital or physical collection of your very best, finished work - usually between 10-15 pieces. Your portfolio can be a website, or a printed book, or both - but either way, it should be curated and cleanly presented. You’re going to be showing it to potential employers, so it should be something that you’re proud of.

(Check out the free PDF Bootcamp 2: Getting You Hired by Drawn & Drafted. Also check out this blog post Portfolio Book Makeover by Kelley McMorris if you want an example of a physical portfolio.)

But you’re getting way ahead of yourself here. If you’re just starting college, you don’t need a portfolio right now. Portfolios are for convincing people to hire you. It’s good that you’re thinking about these things (and reading blogs like Dear AD!), but as a beginning art student, your current job is to, well, make drawings and get good at making drawings. A portfolio is a collection of your best work - and your best work is yet to come!

Keep researching the illustration industry and working hard in your classes. Once you have a clear idea of your future career, and who you want to convince to hire you, you can start building a portfolio.

- Agent Thumbnail

[dearartdirector]

I started art school 2 years ago. I am older mid to late 40s. Right now I am unemployed but still in art school. But I can’t go back to working jobs I don’t like. I want to be freelance illustrator. I have zero motivation to work for someone else. Do you have any ideas what I can do to move it along and start earning money as a freelancer. I don’t even have clients. Lol. Yikes! I can’t do it anymore jobs that don’t inspire me. I like being home. HELP! Lol

To be brutally honest with you, Anonymous: most artists aren’t able to support themselves entirely on freelance as soon as they graduate. It tends to take a few years to build up a reputation and a client list. Most graduates have to work full or part-time jobs while they build up their freelance career on the side, or live with someone who can pay their living expenses for them, such as a spouse or parent.

You say you can’t stand the idea of going back to a day job, so use that as motivation to bust your ass NOW, while you’re still in art school. If it takes a few years to get a freelance career rolling, then start rolling that ball NOW. Work your hardest in all your classes. Nurture relationships with your professors and your most hardworking classmates. Start researching your dream clients. Enter art contests such as SILA, Spectrum or SOI. Apply for ateliers, workshops or Art Business Bootcamp. 

Start working now to hit the ground running after you graduate.

You have to face the fact that you may not be able to support yourself off of freelance as soon as you graduate - and that’s ok. It doesn’t make you a failure, it makes you normal. The successful artists that you admire went through years of struggling to get where they are today.

So, how badly do you want this, Anonymous? You say you can’t stand the thought of going back to a day job, to office work, to the daily grind of working for someone else?

Prove it.

-Agent Thumbnail