Category Archives: Tutorials

How to contact Art Directors: Part IV – Mike Linnemann

This post is one of a four part series:
How to contact Art Directors: Part I – Marc Scheff
How to contact Art Directors: Part II – Jon Schindehette
How to contact Art Directors: Part III – Lauren Panepinto
How to contact Art Directors: Part IV – Mike Linnemann

Mike Linnemann painted by illustrator Sidharth Chaturvedi.

Again summarizing from previous posts: This is a blog series to help art students as well as new artists familiarize themselves with the best ways to go about contacting art directors, when starting out as an illustrator. The goal is not to be a nuisance and make a good impression.

In order to give you a well rounded perspective I asked a handful of art directors to answer 10 questions on the topic. First was Marc Scheff from Tree House Brand Stores and second up was Wizards of the Coast Art Director Jon Schindehette , next we had Lauren Panepinto from Orbit Books and to wrap it all up, here is an interview with Mike Linnemann, who is a former Art Director from Fantasy Flight Games.

1. What is your preferred method of communication if a new artist is looking to make contact and why? (ie. Postcards/email/phone/facebook/meeting in person)
Email is best. It is the fastest and most easily recorded. It’s a lot harder to forward a Facebook message/tweet to a fellow art director, no?

2. Social media is becoming increasingly popular amongst artists as a tool for networking, how do you feel about artists befriending you on Facebook? Is there a right and a wrong way to go about it?
There is no “right” way, but there’s definitely a wrong way. Creating a fan page or just using the personal page doesn’t matter. In the end, if you don’t have an external portfolio link-self website or DeviantArt etc, you won’t be added to the list.

Another example of the wrong way would be adding someone randomly or sending a Facebook message with just a portfolio link. When you are cold calling an Art Director introduce yourself at the bare minimum, don’t just send a link. Here’s an example of a message you could send:

“Hi Jim,
I’d like to work for you. Here’s my portfolio link: www.wizardryaction.com.
- Frank Jenkins”

We befriend artists because we talk and work with them, it’s a gray area but there are levels, like adding someone on Twitter vs. Facebook. There’s a privacy/intimacy line.

2. a On that note does it make a difference to you whether a new artist uses DeviantArt or actually has their own personal website?
Companies haven’t kept up with the speed of social media. Databases still have “URL:” as the portfolio link so it doesn’t make a difference. I would say, sending PDFs is a bit old hat and I wouldn’t do that unless requested. It fills up the inbox and they are hard to keep track of, also you have to wait for them to load.

Same with flash websites. If I can’t hit “next” or the arrow to see another image or the load times are long, um, yeah. It’s a speed thing, absolutely.

The bare essentials that we need are: Full name, phone number, address with postal code, portfolio link, PayPal address, preferred email address. We expect to find your name, email and portfolio link immediately.

People think it arrogant to google themselves, when in actuality, that shows what pops up first. So do it and find out how easily your contact information is to locate. Your website? Your blog? Your website? Once you know, focus the energy there.

3. Conventions are a great opportunity for networking, both for artists and Art Directors alike. However some new artists are nervous about approaching Art Directors in person just because they would like a job. What is your advice to this and how do you prefer that artists introduce themselves to you during conventions?
“Are nervous about approaching Art Directors in person just because they would like a job ” Why? Art directors are often busy, but are very rarely unpleasant. Here is my advice:

1. Go to the portfolio review. Sometimes you have to sign up before online. Do that.
2. If you don’t do it online. Go to the booth/room and see if there’s a cancelation and sign up.
3. If that’s not possible, ask to see when they’re done, catch them on the way out.
4. If there’s a line for that, ask them when they have time later. Ask them if they can have 2-5 minutes before dinner somewhere, anywhere.
5. If that’s a no, all ADs walk around the booths. Stop them in the hallways.

Be pleasant and ask for a short review. Being shy does not help you. Honestly I’m sorry but if you don’t want to work for me, then don’t talk to me.

Last year at Spectrum, I hired someone 2 days after he had a portfolio review. I told him “Why didn’t you contact us earlier?!”

4. If you ask a new artist to email you after meeting in person. How soon after the meeting should they do so? (ie. The next day, next week, next month)
First of all, we’ll ask for a leave behind: Business card or whatever. Don’t spend a ton of money on them – they just get put into a box. After the convention, we review everyone and put them into our database. Please note it is very, very important to leave space on the leave behind for us to write notes: LEAVE SPACE ON THE LEAVE-BEHIND!

People can email us, but most likely, we’ll contact them for address, phone number etc. but honestly, after the con, doesn’t really matter when. If the Art Director said “we want you on X brand” and they haven’t heard in a week or so, then ping them for sure.

4.a On that note do you prefer the leave-behind to have address and phone on it or just email?
Phone numbers is only to confirm address for payment. We don’t call people unless there’s a problem: Hit by a car, etc. The leave-behind needs to have name, email and portfolio link at minimum.

4.b How about artwork on the business card? Unnecessary or not?

Personally I like when people have the 4 versions and I get to pick one. Helps make it more memorable for me. It doesn’t really matter though. The portfolio is what I’m looking for.

5. When emailing an Art Director for the first time – what should the ideal email contain?
Contact information and portfolio link.

8. How do you personally seek out new artists and how do you keep tabs on the artists you have met?
Personally? I would check DeviantArt Daily every day. Some people troll through the links part of websites or deviantart friends, but it’s a crapshoot at best. Magazines? Sure and Spectrum to some extent, but otherwise, our ArtDrop gives us tons and we always go back to convention lists. ArtOrder is a huge gorilla though. We always notice them.

Sometimes artists refer their peers but they never do that enough. Artists have contemporaries all the time. Every artist with prominence has 2-3 friends that are close to them. They then eclipse them Picasso style, but it happens.

9. What is the most positive encounter you have had with a new artist and what is the worst?
Positive: Chris Burdett making doodles and posting them on our Facebook walls. It shows friendliness. For example, I love ‘merika and one artist sent me a postcard with a Captain America image he did with just ‘merika as the text. That stayed with me in both cases because they did research I suppose.

The worst is Vague-booking: It’s really, really bad. Don’t do it. It’s happened to me once and it stuck with me for weeks. It’s really, really harmful to a reputation. We can’t trust you with an NDA.

10. Do you ever get tired of having to explain the same things over and over to new artists?
No. To the same artist about the same thing? Yes. When it comes to artwork though there are always going to be issues, even if perfectly done. Horses for instance are always a problem but proportion issues are just a part of the process.

The biggest issue is that artists starting out paint what they see themselves. It’s a hurdle, not a barrier. We paint from experience. We don’t immediately deviate because it’s unknown, unfamiliar. If you look at 20 year olds’ portfolio – if you see a fairy, it often looks like the woman or her friend due to reference.

Getting new reference is a big step but one that’s very exciting. One the best places you can go for it are Sports complexes. We had requests all the time when I ran track in college. Big thrower guys, skinny distance guys, everything in between and when you called it “modeling” people were ok with it. It only takes minutes to get reference images.

- Mike Linnemann

Links:
http://mikelinnemann.com/
Fantasy Flight Games
http://www.sidharthchaturvedi.com/
Twitter: @mikelinnemann

About: Mike Linnemann is a former Art Director of Fantasy Flight Games. He describes himself as a patriot, art enthusiast and a lifelong learner. He was educated at University of Minnesota and lives in Minneapolis with his wife Emily .

How to contact Art Directors: Part III – Lauren Panepinto

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This post is one of a four part series:
How to contact Art Directors: Part I – Marc Scheff
How to contact Art Directors: Part II – Jon Schindehette
How to contact Art Directors: Part III – Lauren Panepinto
How to contact Art Directors: Part IV – Mike Linnemann

lauren panepinto 300x300 How to contact Art Directors: Part III Lauren Panepinto

Lauren Panepinto, jedi knight in her spare time.

In order to give you a well rounded perspective I asked a handful of art directors to answer 10 questions on the topic. First was Marc Scheff from Tree House Brand Stores and second up was Wizards of the Coast Art Director Jon Schindehette and now we’re taking a look into the world of Book Publishing with Lauren Panepinto from Orbit Books.

1. What is your preferred method of communication if a new artist is looking to make contact and why?

Email. Send me a link to your site, and maybe 1-3 loses jpegs attached if you want me to see something specific. I keep all my files digitally for artists, so I can easily email to editors/authors or print them out for meetings.
While we’re on this topic, please good god have right-click-downloadable jpegs on your site, and they don’t have to be hi res, but nice enough to print out decent on a letter size piece of paper. I understand you don’t want people to steal your work, but they’re going to do it anyway. Making it easy for A.D.s to show editors nice examples of your work is critical to you getting approved for a project. And no I don’t send them straight to your website, because god forbid they see one piece that isn’t perfect in there, and then it’s all over. I send them the pieces of your work that most directly apply to the job at hand.

2. Social media is becoming increasingly popular amongst artists as a tool for networking, how do you feel about artists befriending you on Facebook? Is there a right and a wrong way to go about it?
I am a mainly Facebook person, and I’m happy to befriend any artists that ask. It’s honestly the primary way I’m seeing your work updates. However, I decided a long time ago that I wasn’t going to try to keep my work and personal personas separate – I don’t think it works, and that’s a whole other blog post right there…so if my updates of goofy kickboxing and randomly climbing up roadside dinosaurs on the way to illuxcon bug you, then consider yourself warned now. Although I do try to keep generally to geek and/or art topics when posting.

Bonus social media: do process posts on instagram, and pin your portfolio pieces on pinterest. Kekai Kotaki & Richard Anderson are a great example of good ways to show sketches and little fun stuff on instagram.

3. Conventions are a great opportunity for networking, both for artists and Art Directors alike. However some new artists are nervous about approaching Art Directors in person just because they would like a job. What is your advice to this and how do you prefer that artists introduce themselves to you during conventions?
If we didn’t like artists stopping us to talk we wouldn’t last 2 days at our jobs. If it were random artists stopping us at the grocery store, or at a bar, I would still be ok with that, but at conventions? you’re AT a convention to meet artists, so really, we’re going to be more open there than anywhere.

4. If you ask a new artist to email you after meeting in person. How soon after the meeting should they do so? (ie. The next day, next week, next month)
if i ask them specifically for a job, the sooner the better, you want to impress me with how on top of shit you are. If it’s just “keep me updated on your work” then within a week or two – before I start to lose the face-name-work connections.

5. When emailing an Art Director for the first time – what should the ideal email contain?
If we met, mention where, then a link to your site, and maybe 1-3 loses jpegs attached if you want me to see something specific.

6. It is no secret that many Art Directors are busy people and get a lot of emails. If your email goes unresponded, should you send a reminder email and if so how long should you wait before doing so?
If you emailed just to update new work and say hi, then don’t follow up, ill get to you. usually the time it takes me to get back to you is proportional to the amount of stuff I actually want to say. if I’m sitting on an email for a while it’s because i actually want to respond with more than a k, thanks, bye.

However if we’re actively working on a project together, then id say 48 hours is a non-annoying amount of time. unless you’re like leaving on vacation and there’s something you need to finish, or some emergency. honestly i don’t think you can over-communicate when on a job. sometimes i’m held up waiting for editor approval, or author approval, but i’ll tell you that i am.

7. On that note Art Directors may ask for artists to send them periodical updates. What is the ideal timeframe for you to receive such updates without feeling like you are being spammed?
If you have something new to show, then attach it and then there’s no timeframe. if it’s just a link to nothing different in your portfolio then maybe once every month or two is enough.

8. How do you personally seek out new artists and how do you keep tabs on the artists you have met?
Interwebs, Facebook, pintrest has been a big one lately, instagram, blogs, and most importantly, other-A.D.s recommendations. I do a lot of portfolio reviews, but maybe only 10% of the people i see are ready to work. thats more of a student thing.

9. What is the most positive encounter you have had with a new artist and what is the worst?
Best are the ones who are good AND on top of their business game. keep in communication, helpful, understanding about revisions. You know that neil gaiman speech that was going around? he’s really just rephrasing what A.D.s say constantly. Be Good, Be Nice, Be On Time. If you are 2 of 3, you will work, if you are 3 of 3 you will have so much work you have to turn work away.

10. Do you ever get tired of having to explain the same things over and over to new artists?
God no, thats my job. I consider it the ultimate triumph of the artist-A.D. system when I see a portfolio young – maybe in school, maybe just out, maybe self-taught, see it progress over a few years, until it’s finally at the point that they’re what i need (and then a book has to come up that matches their style, which can be a frustrating wait) – but when it all comes together it’s an epic win day at the job.

- Lauren Panepinto

Links:
Orbit Books
Email: lauren.panepinto@hbgusa.com
Facebook: https://www.facebook.com/lauren.panepinto
Pinterest, instagram, twitter: @planetpinto

[author] [author_image timthumb='on']http://wicked-fairytale.com/wp-content/uploads/2013/03/lauren_panepinto.jpg[/author_image] [author_info]

Lauren Panepinto is the Creative Director at Orbit Books, one of the leading publishers of Science Fiction and Fantasy. Asides from being an Creative Director with many years of experience she is also a passionate geek, who loves to sport colorful and creative leggins. She studied Graphic Design at the School of Visual Arts.

Lauren lives in New York City.[/author_info] [/author]

How to contact Art Directors: Part II – Jon Schindehette

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This post is one of a four part series:
How to contact Art Directors: Part I – Marc Scheff
How to contact Art Directors: Part II – Jon Schindehette
How to contact Art Directors: Part III – Lauren Panepinto
How to contact Art Directors: Part IV – Mike Linnemann

Jon Schindehette.
Photo by Edward Howard.

To summarize from last post, this is a blog series to help art students as well as new artists familiarize themselves with the best ways to go about contacting art directors, when starting out as an illustrator. The goal is not to be a nuisance and make a good impression.

In order to give you a well rounded perspective I asked a handful of art directors to answer 10 questions on the topic. First was Marc Scheff from Tree House Brand Stores and next up we have highly regarded Wizards of the Coast Art Director Jon Schindehette. Enjoy!

1. What is your preferred method of communication if a new artist is looking to make contact and why? (ie. Postcards/email/phone/facebook/meeting in person)
ArtDrop(at)Wizards.com – send 3-4 jogs, and a link to online portfolio (message cannot exceed 6mb)
Also like postcards with contact info and url to portfolio.

2. Social media is becoming increasingly popular amongst artists as a tool for networking, how do you feel about artists befriending you on Facebook? Is there a right and a wrong way to go about it?
I don’t have an issue if their friend, prefer just subscribing though. And never, ever, contact me with a request for a portfolio or sample review.
Also, never tag me in any image that I didn’t directly take part in the development of.

3. Conventions are a great opportunity for networking, both for artists and Art Directors alike. However some new artists are nervous about approaching Art Directors in person just because they would like a job. What is your advice to this and how do you prefer that artists introduce themselves to you during conventions?
My advice – Get over it.
How to introduce yourself? Walk up, say “Hi” give a 10 second talk about who you are, and what you do. Hand them a card, and then step out. If they want to continue the conversation, they will.

4. If you ask a new artist to email you after meeting in person. How soon after the meeting should they do so? (ie. The next day, next week, next month)
Right away.

5. When emailing an Art Director for the first time – what should the ideal email contain?
See #1

6. It is no secret that many Art Directors are busy people and get a lot of emails. If your email goes unresponded, should you send a reminder email and if so how long should you wait before doing so?
If you are cold calling, then no reminder email. If you were directed to email, or have a project with them, follow-up after 24 hours have elapsed.

7. On that note Art Directors may ask for artists to send them periodical updates. What is the ideal time frame for you to receive such updates without feeling like you are being spammed?
When you have something new and BETTER to show. Time is less important that showing something that shows that you are getting better.

8. How do you personally seek out new artists and how do you keep tabs on the artists you have met?
Conventions, referrals, and ArtDrop.
I keep tabs in those same venues.

9. What is the most positive encounter you have had with a new artist and what is the worst?
Most positive – Met a young artist, the had a portfolio that showed me they understood what I did and what I needed. I offered them work, they took it and exceeded my expectations…I work with them still.
Worse – Had an artist yell and scream at me, flip over the review table, and storm out of the area cursing and screaming the whole time. I’ll never work with them…no matter how good they get.

10. Do you ever get tired of having to explain the same things over and over to new artists?
No.

- Jon Schindehette

Links:
Website: The ArtOrder
ArtOrder on Facebook
Wizards of the Coast
Twitter: @JonSchindehette

Jon Schindehette is the Senior Creative Director at Wizards of the Coast. He is one of the more prominent and well known Art Directors in the Fantasy Illustration community. He runs the ArtOrder blog where he has taken an active role to challenge and educate and mentor Art Students as well as new and more seasoned Illustrators. Jon is a leader in his field with a huge passion for creative development.

He lives in Covington, Washington with his beautiful wife Lisa.

How to contact Art Directors: Part I – Marc Scheff

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As a young or new artist it can be intimidating to start contacting Art Directors, it is however a necessary part of the job if you want to make a living as a freelance artist. One of the more frequent concerns I have encountered from other artists and myself as well is how to contact them without being a nuisance. Naturally when asking for a job you want to come off as professional and make a good impression, rather than turning them off right away.

I asked a handful of art directors to answer 10 questions about their preferred method of communication with artists. I’ll be posting one interview at a time over the next month. Starting out with Marc Scheff who is an Art Director for Tree House Brand Stores. These interviews will be packed with good information on how to show your best side, so stay tuned and enjoy!

This post is one of a four part series:
How to contact Art Directors: Part I – Marc Scheff
How to contact Art Directors: Part II – Jon Schindehette
How to contact Art Directors: Part III – Lauren Panepinto
How to contact Art Directors: Part IV – Mike Linnemann

1. What is your preferred method of communication if a new artist is looking to make contact and why? (ie. Postcards/email/phone/facebook/meeting in person)
I have a form that new artists can use to send me a sample for consideration. I look at 100% of the submissions that come in, and categorize submissions into a few folders on my computer. When I need new talent, I look through most of them again. The form is here: http://www.marcscheff.com/submissions

Other than that, I prefer email with a link or links to work. It’s easy, and it saves trees.

2. Social media is becoming increasingly popular amongst artists as a tool for networking, how do you feel about artists befriending you on Facebook? Is there a right and a wrong way to go about it?
Twitter and my Facebook page are the best places to connect with me. I accept friend requests if we have actually met, and I don’t share anything professional on my personal page anyway. I’m on there almost all the time, so I don’t miss much.

3. Conventions are a great opportunity for networking, both for artists and Art Directors alike. However some new artists are nervous about approaching Art Directors in person just because they would like a job. What is your advice to this and how do you prefer that artists introduce themselves to you during conventions?
I wrote an article on this topic here. Basically get over it. Be professional, courteous, introduce yourself, and move on. If an AD wants to continue the conversation, they will! It’s no secret that we’re all looking for work or people to work with, handing off your card, introducing yourself, and saying what you do, that says it all.

4. If you ask a new artist to email you after meeting in person. How soon after the meeting should they do so? (ie. The next day, next week, next month)
They could email me while we’re talking. If I ask you to email me, I am counting on you to actually do it, and we’re not courting each other so you don’t need to wait six days. In fact, emailing me shows interest and is a good reminder for me to follow up. I keep a zero inbox, so it is a todo list I am guaranteed to not forget. The sooner the better.

5. When emailing an Art Director for the first time – what should the ideal email contain?
I prefer my submission form. But if you insist on email, I like a brief email, ideally noting that you know what I hire for and why you think you’re a good fit, and a link to work. In the end, the work gets you hired, but a professionally written email showing that you have put some thought into why you fit shows me you that you want THIS work and not just any work. If I like what I see, I put it in a folder where I keep artists I think I can use.

Oh, and for the love of all that is holy: spell check and use grammatically correct english sentences. If you write “u” instead of “you,” use an emoticon, or say “lol,” I will certainly wonder if you’re a professional.

6. It is no secret that many Art Directors are busy people and get a lot of emails. If your email goes unresponded, should you send a reminder email and if so how long should you wait before doing so?
I can promise you I read all my email and look at all links. I often reply at the minimum to confirm receipt. If I don’t, then fair to assume I can’t see a way to pitch your work right now.

As an artist, I know we all evolve, so feel free to send a follow up with new work every 2-3 months.

7. On that note Art Directors may ask for artists to send them periodical updates. What is the ideal timeframe for you to receive such updates without feeling like you are being spammed?
See 6.

8. How do you personally seek out new artists and how do you keep tabs on the artists you have met?
I live on the internet and find artists everywhere. I look on Jon and Irene’s sites a lot, and see who they and Lauren are working with, as well as other ADs I like. I am on Facebook a lot too, and have hired a few from the crit group Team Awesome. I scour Illustration Age and some of the other illustration blogs. I check my submissions form folders. If I find someone I like, I often create a folder for them in my submissions directory.

9. What is the most positive encounter you have had with a new artist and what is the worst?
The best was when I ADed the 52 Shades of Greed project. It was my first time with about 28 artists and everyone got me finished work in 4 days. The task was impossible and they did it on a crazy budget. I was blown away. You can go see who those heroes are here: http://52shadesofgreed.com/

The worst was an artist whose work I love but he failed to ever complete his commission. That means I have to explain or excuse him with my boss, figure out the legal stuff with how to close his commission, find another artists to start over, and in the worst case cancel that project. The less I have to do that, the better.

10. Do you ever get tired of having to explain the same things over and over to new artists?
No.

- Marc

Links:
Website: http://www.marcscheff.com/
Twitter: @marcscheff

[author] [author_image timthumb='on']http://wicked-fairytale.com/wp-content/uploads/2012/12/marc_scheff.jpg[/author_image] [author_info]

Marc Scheff is an illustrator and Art Director, who went to Harvard. His work has appeared in publications such as Spectrum, ImagineFX, and more. Marc is constantly engaged in creative endavors and seek to help educate and engage his fellow artists. He does this in many different ways but a few worth mentioning are the Drawn Today podcast, and the co-founded, weekly livestream channel Awesome Horse Studios.

He currently lives in New York City with his wife Chloe and his son Declan.[/author_info] [/author]

Aspiring illustrators: Put yourself out there!

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This week we are kicking off the weekend with a new blog post series about communication with Art Directors as a new/young artist. To begin with I have asked a young artist by the name of Jenna Kass for her input.

Jenna graduated within recent years from SVA in New York City and has been working hard to break into the industry. Being right out of school she has very fresh experiences with the scary situation of putting yourself out there on the market in this day and age, and trying to build a career for yourself while you still have a lot to learn. I have been following Jenna’s progress for a little under a year since her graduation and already since then, her work has improved massively. Jenna has impressed me with her persistence to improve and willingness to seek out advice from people who have been in the business for many, many years. She also keeps an excellent blog where she posts on thoughts about her work and experiences. You will find a link to it on the bottom of this post.

For now, please share in some of the lessons Jenna has learned. Enjoy!

jenna kass illuxcon 550x335 Aspiring illustrators: Put yourself out there!

Jenna Kass at her Showcase Table during IlluXcon 5

My name is Jenna Kass, and I have no idea what I’m doing.

Well, no. My name is Jenna Kass, and I’m an illustrator. I graduated from the School of Visual Arts last May with a BFA in Illustration, some half-formed ideas about oil painting, and my sights turned to fantasy book cover illustration. When I’m being facetious I tend to describe my work as ‘sad flowy ladies’; when I’m being serious, I have things I try to say about accessing quiet moments and personal emotion with beauty and light.

A Great Beauty © Jenna Kass, 2012

I am twenty-three and I swing wildly between confidence in my future as an artist, and knowing with certainty that I’m already a failure because I have yet to get any commission work or sell a single painting.
When I’m not too far into my own head to see it, I know that these seething doubts are part of what it means to be a young artist. Not only that: they are a large part of why it’s so hard for so many of us to get out there and put our work – or ourselves – in front of art directors. It’s easy to be overwhelmed by, well, everything it takes to become a Real Grownup Illustrator. But there are only really two things that I’ve found really matter in getting yourself out there: confidence, and putting yourself in the right place.
It’s easier to say than do, of course, but you can fake confidence and you can be smart about being in the right place, and everything comes from that.

It’s my own experience that you can’t do one without the other. I’ve been attending Illuxcon for three years now, and from that show I’ve been able to meet four or five art directors face to face, and have real conversations about my art – but just being in the right place (a show dedicated to traditional, realistic fantasy art) wasn’t enough. The first year I attended, I had a portfolio review, I looked at a bunch of art, I went to a few panels… and I spoke to no one I didn’t already know, and I only showed my portfolio to my reviewer. My confidence, shall we say, lacking.

River Daughter © Jenna Kass, 2013

When I came back the next year, I had in my portfolio prints of such low quality I was nearly too ashamed to go to my reviews, despite being proud of the actual art itself. I could have slunk through the weekend with my tail between my legs, not talking to anyone for the second year in a row – but after doing that for a day, I got fed up with myself and did the exact opposite. I showed my portfolio to just about every artist tabling at the main show; I spoke to everyone; I asked art directors who weren’t my reviewers to look at my book; I even hung out in the hotel bar with Cool Artists – and none of this was ‘real’ confidence. Every single bit of what I did was a combination of faking it and being too angry at myself over the prints to back down.

By forcing myself forward, I made connections I still have today, and at this point I’ve been pretending to be confident for long enough that sometimes I forget that I have absolutely no idea what I’m doing.

Tristan and Isolde © Jenna Kass, 2012

Not all of this ‘right place’ stuff has to be in person, either. People can connect from anywhere now over the internet, in places like ArtOrder challenges and AwesomeHorse livestreams and Facebook pages and blogs – the important part is being there. The worst thing you can do as a young artist is convince yourself you’re not good enough yet, and that no one wants to talk to you. If you avoid those conventions, those Society of Illustrators events, those show openings and chatrooms and calls for entries, all you’re doing is hobbling yourself.
Art directors are people, too, and they’re members of one of the most supportive and friendly professional industries I’ve ever heard of. So many of them put themselves out there – giving portfolio reviews at conventions or moderating panels at the Society or judging internet contests – that it’s really up to each young artist to put themselves out there in kind.

So agonize over those two-line emails and how best to link your portfolio website; feel your mouth go dry as you approach those art directors with your card ready to go: as long as you do it, it doesn’t matter how long it took to write or work up the nerve to approach.

Jenna Kass

Jenna is a New York City-based illustrator and a long-time devotee of the fantasy genre. Rather than focusing on action-packed sword-and-sorcery illustrations, her interest lies in the personal drama and emotion of the stories she tells.

Links:
Jenna Kass’ Website
Jenna Kass’ on Tumblr
Jenna Kass’ Blog

What is Digital Painting?

Lessons from IlluxCon 5: Part 5 – Wrap Up, Interview with Rose Wong

Digesting the Convention as a new attendee
and dealing with doubt.

IlluXcon is a wonderful experience, but also overwhelming. It took me weeks to digest all the impressions and from my travel mates I know, I was not the only. While you feel extremely inspired you don’t necessarily walk away from it with a feeling of happiness because there is so much input that it also makes you think: “Can I really do this?” “Can I make it to where these artists did?” “Am I wasting my time?”

These feelings of doubt are mixed with the hope and thrill of getting home to work on new and better pieces, to study harder and improve. Many artist’s struggle a lot with their own self worth, we torment ourselves with feelings of doubt and while seeing the best in the business is fantastic, it also opens for that nagging voice that makes you realize that it is going to take so much to get there, and it is going to be so hard.

However you cannot let it get to you. You cannot compare yourself, because these people are years and years of experience on you, and the only way to get to their level is to get those years of experience – you have to practice, you have to grab hold of the inspiration you feel from seeing these titans of imaginative realism, cling on to that inspiration and let the doubt go.

While I will admit I feel intimidated, there is no doubt in my mind I want to attend again next year.

On an end note I would like to share with you an interview with art student and aspiring illustrator Rose Wong, whom I traveled with. IlluXcon was even more so quite an experience for Rose because of her very unique style of art.

Interview with young, aspiring Illustrator Rose Wong

1. Please introduce yourself and your work.
Hello! My name is Rose Wong and I’m a Junior Illustration Major at the Pratt Institute.

Most of my work contains graphic abstract figures and flat coloring. I like to work with line a lot.

self portrait by rose wong 400x600 Lessons from IlluxCon 5: Part 5 Wrap Up, Interview with Rose Wong

Roses (Self Portrait) by Rose Wong

2. What convinced you to attend IlluXcon and what were some of the thoughts/hopes/expectations you had abou the convention prior to attending?
My friends Kiri and Betsy convinced me to go, though I became reluctant after I signed on, they were very supportive.
I really didn’t know what I was getting myself into and I did however, expect to learn a lot about the industry and I hoped to meet other artists!
Some thoughts that came to mind before the convention were ‘oh jeez, my art does not fit into the general fantasy realism thing that they have going on there!’

3. What was your first impressions of the convention when you first entered the main show?
‘Holy shit! Look at all those beautiful paintings!’ I love see the artist behind the paintings, and it was a cool sight.

Rumination by Rose Wong

4. How did you feel about attending as a new artist with a style that clearly stood out from that of others?
It was nerve-wracking because I was so hesitant to show people my portfolio. First because I was still a student, eager to learn, but I was also afraid my art wouldn’t fair well with the others. But as the con went on, I began to embrace it because I had nothing to lose. Because It was different, I suppose people liked diversity and were receiving it well.

5. Do you feel that art students with a style that differs from traditional fantasy can still benefit from attending this kind of conventions?
Yes most definitely! I mean though, most people there, whether they be artists or art directors, are mainly looking for/at sci-fi or fantasy stuff. Just be aware that the bulk is traditional fantasy.

Trapped by Rose Wong

6. What were the three most valuable lessons you took away from the conventions?

One, that no matter what and where you are, be proud of your artwork, because it shows.
Two, be forward and open, because you don’t make friends or contacts from being shy.
Three, learn from the professionals, but don’t compare yourself because they have got years of experience over you.

7. What were some of your convention highlights?
Definitely the Friday night show case. I had a booth and I talked to many different kinds of people; students, other artists, and even art directors! And it was the night I felt most comfortable with showcasing my art and talking to others about it.

8. Were there anything you would have done differently?
Probably would have signed up for a portfolio review, but other than that, I wouldn’t change a thing.

Beauty by Rose Wong

9. Are you going to attend again next year?
Most likely, yes! Cons are fun and I have this deep desire to show people how much I can improve in a year.

10. If you could give some advice to your fellow art students, what would that be?
I’m going to redirect you back to Question 6, because that is some good advice there that I always have to remind myself. It’s good to throw yourself out there because we’re so young and still students, most people are very encouraging and helpful if you just ask!

bathroom by rose wong 550x393 Lessons from IlluxCon 5: Part 5 Wrap Up, Interview with Rose Wong

Dilemmas by Rose Wong

Links:
Rose Wong on Deviant Art
Rose Wong on Tumblr

Wicked Fairy Tale

Artwork and illustration by Kiri Østergaard Leonard

Category Archives: Tutorials

How to contact Art Directors: Part IV – Mike Linnemann

How to contact Art Directors: Part III – Lauren Panepinto

How to contact Art Directors: Part II – Jon Schindehette

How to contact Art Directors: Part I – Marc Scheff

Aspiring illustrators: Put yourself out there!

What is Digital Painting?

Lessons from IlluxCon 5: Part 5 – Wrap Up, Interview with Rose Wong

Digesting the Convention as a new attendee
and dealing with doubt.

Interview with young, aspiring Illustrator Rose Wong

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Digesting the Convention as a new attendee and dealing with doubt.

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Digesting the Convention as a new attendee
and dealing with doubt.