Hi uzlolzu! Your art is so unique and captivating you've been my favourite artist since I was a teenager! I've recently graduated uni now and have done some freelance jobs here and there and I'm wondering how someone goes about building a stable freelance career as an illustrator. Can you share how you started?
Hello and thank you! That’s flattering and I’m very happy to hear it.
I can! Or I will try. It’s a pretty tricky question to answer, because my path into this has been organic and, in a way, one of least resistance.
In short: I was born into it.
Not in an “I’m the chosen one” way, of course, but in that my parents are artists and designers. Both currently work as graphic designers and have worked with illustration in the past. My mum is also a tailor and my dad is a wood carver (my sister does wonderful ceramics and has an education in tailoring too). Art and design, and working in those fields, is a core pillar of my family life.
All of this was pretty convenient for me regarding pursuing a career in illustration; I’ve always had access to all digital and traditional materials I’ve ever needed to draw or paint or do any craft (my first tablet was a 1999 Wacom Intuos 1), I grew up in an environment that was encouraging even when nothing was said, AND I had my parents’ extensive professional network available to me as soon as I was old enough to work. That last part has probably been more important than my level of skill ever was. I was lucky. I hit the ground running. So I can’t really remember a time where design or art of some sort wasn’t already my “career” (in my mind, I had an art career when I was four). It took quite a few years before I understood that I could technically have other jobs.
That said, my first paid jobs were photo editing ones that I got through my parents, not illustration. They were touch-ups, extending, cropping, resizing, masking… Those things that Photoshop often can do on its own now (or at least streamline) but couldn’t when I started almost 20 years ago (though PS and I have been friends for almost 30). Eventually, I got to do small illustrations for the same publications I had edited photos for, as well as some others. These kinds of illustrations still constitute a large part of my work hours, though in greater numbers and larger batches. They aren’t the flashiest, but they pay well. I also still work with my parents often. We’re all self-employed, but it’s really a family business setup at the core.
Moving outside of my inherited network…: I got my table top RPG-jobs by becoming part of the Swedish indie and semi-indie TTRPG scenes, which aren’t very big. It was straightforward to be visible enough and many people had their own (often tiny) projects that needed illustrations. Some of them contacted me. I think a not insignificant portion of the Swedish TTRPG game designers know who I am now, but I started small. Role-playing is one of my biggest hobbies, so networking came naturally. In my experience, these are flashier pictures to make, but rarely pay well (with some glorious exceptions). Anyway: If you have a specific field you want to work in, get involved in that field. There’ll probably be more people who want illustrations than people who illustrate in it.
Then there’s the concept art. I worked as a concept artists for Ubisoft Massive for a few years, and got this job partly through the game developer school (The Game Assembly) that I went to and partly because of my skills, I guess. But TGA and its proximity to Massive was instrumental. Game art is the only profession I have a formal education in.
So, when I started “officially”, I was already in a pretty good situation for it. Another important factor in my case, I think, is that I’m comfortable with many illustrator-adjacent disciplines as well, since the “packaging” or context of an illustration has always interested me. I use Adobe Illustrator and InDesign every week. Sometimes I do design work (layouts, logotypes, powerpoint presentations, annual reports, diagrams…), and I often do the in-betweens (infographics. Icons, patterns, other kinds of logotypes…). I prefer illustration and the in-betweens, but being open to branching out has given me more clients and, as a result, the ability to choose more freely which jobs I accept.
Either way. It’s really helped me to know a little something about all parts of a project, planning phase to phinished product. It makes it easier to talk to everyone involved, whatever their position and profession – programmer or printer. I know how to make a book from start to finish. It’s neat.
And, as you can see, there’s a lot of luck involved here and even if I know when I started getting paid, I can’t really say when I started developing the skills and the network I needed. That’s been a life-long process. And, of the two, I think the network has been more important for landing jobs than the depth of any particular skill of mine (though the variety of them might have helped). The more people who know you, the easier it’ll be, and that number of people will grow with the number of jobs you do. And I might as well add that physical meetings have worked better for me than just online contact. It’s easier to remember someone you’ve met, even if it was just for a few seconds.
And to finish off, I’ll add a few work samples that differ from what I generally post on Tumblr, since the ability to work in many styles has also benefitted me:
(Don’t let the text in the yellow box fool you. It’s Swedish lorem ipsum.)