Where Do Ideas Come From?

A conversation with a fellow artist got me pondering that age-old question again. Where DO our ideas come from?  There are so many books, lectures, and blog posts on the matter, but I wanted to throw in my two cents.

I'm sure many of you have gotten that question from someone "Where do the ideas for your paintings/writing/etc. come from?"  It's always asked or implied with this far off look, as if we have this magical ability to pluck the ideas from the gauzy glitter spangled ether as if they are tangible things waiting for our nimble, magically imbued fingers.

Any successful creative professional will tell you that coming up with ideas takes just as much practice, if not more, than actually honing your skills and techniques.  Learning how to draw is only a small part of a larger equation.  In the words of one of my favorite characters, "...a mind needs books as a sword needs a whetstone if it is to keep its edge."

Just as an artist needs a healthy visual vocabulary of paintings, references, and experiences to keep their imagery unique and original.  Art isn't just about drawing well, but making those little cross-connections between one emotion and another to produce something that is uniquely you and that others will also identify with.

Are Conventions Worth Selling At?

This question has been on my mind a lot lately.  Especially considering that I have chosen to take this year off from conventions, with the exception of Illuxcon in September.  After all the money, blood, sweat, tears, and coffee, are cons worth your while to sell at?  Here is what I have learned after 10+ years of doing conventions as a hobbyist and 4 years as a professional artist:

The Pros

1.  Staying in Touch with Fans and Building Your Reputation

This is the number one reason anyone thinks to attend conventions not as a fan, but as an artist.  You get valuable face time with people who might like your art and start getting your name out there on the tongues of people, which is an especially good move if you are the kind of artist who plans to make their income selling art directly to their fanbase.

Face to face selling is also far more effective since your fans can get to know you as a person so they have more of a reason to buy your art. Sounds weird, but having a personal connection to a REAL living person can be very powerful!  Meeting someone in person allows us to want to emotionally support them even more than if they were a faceless artist online whose art we merely consume without consideration for the human behind them.

2.  Marketing Yourself
The other main reason we as artists choose to attend cons is to meet with the folks that can put us in touch with jobs.  Art directors, game developers, publishers, etc.  You'll probably never meet these awesome folks who lead you to professional opportunities unless you go to conventions!  The downside, these folks may not be at smaller cons so you'll have to attend the larger ones which may not be local to you. True, you can still email in a portfolio, but I consider face to face interactions to be more memorable/powerful.

3.  Meeting Kindred Spirits
After spending months in the quiet darkness of the art cave, getting out into the world again and talking to people who are just as geeky and passionate as you are can be such a gift!

4.  Valuable Selling and Setup Experience
Every artist needs this!  You need to know the joys of being juried into a show, meeting the deadlines of setup and application, the proper way to set up your display, etc.  Most of all, you need the ever-important skill of dealing with people.  A lot of us spend a lot of time alone without knowing how to market ourselves with confidence.  This is an especially handy skill for when you want to start showing your portfolio to the folks that can get you jobs opportunities beyond selling to your fanbase.

The Cons

1.  Selling Too Early
Notice how I didn't put 'Making Money' as one of the Pros of conventions?  It's my belief that most people who try to sell at conventions (including myself!) start selling too early.  True, it's good to start building a reputation, but if you start doing that before your art is at a professional level, you start building the wrong kind of reputation. Chances are if you start selling too early, you won't have an established artistic identity or direction to your artistic vision.  People will get to know your art by the lower quality and lower prices we all have when we first start out as green, wide-eyed wanderers in this grand art world.

One might argue that fans enjoy seeing you grow as an artist.  I'm sure they do, but wouldn't you rather impress people right out of the gate?  Starting too early can also lead to demoralization when you aren't making the kind of sales to justify your expenses because everybody else is levels higher than you, skillwise.  If you're not sure if you're ready, ask your friends or art professionals you know whether they think you are at the point you need to be to take the risks of selling...because there are a lot of risks and a very high chance of burning yourself out when money is involved!

2.  Demoralization
Chances are that 99% of you are going to lose money when you first start selling at cons (especially if you start too early).  If you're lucky, you'll break even.  There are countless expenses involved, including, but not limited to, gas, hotel, travel, inventory, food, art show fees, table fees, etc.  While most of these expenses are tax deductible, it can really put a dent in your wallet and leave you with a hollow sense of failure after all the effort you put in.

And we haven't even talked about the sleepless nights spent prepping your inventory, making travel arrangements, setting up displays, eating badly, descending deeper into the anti-social art cave due to all the prep work you have to do, breaking down displays...the list goes on and on and on and on.

3.  Time Consuming Distractions
On top of the dangerous levels of demoralization, conventions have a way of sucking up our lives.  By the time you're done with one convention it's time to start prepping work for the next one!  It's all about sell, sell, selling and sometimes you get so fixated on selling that you forget to make new work.  A year (or two) later, you might realize you have the exact same work you're showing to fans and art directors and you're not advancing, artistically, because you've spent all this time making a short term dime instead of preparing for long term opportunities, like that portfolio you keep ignoring so you can SELL, SELL, SELL at conventions.

Bottom line is you need to balance conventions with creating new relevant work for your portfolio or you might find yourself stuck in a fruitless loop of selling.

4.  No More Fun Times
After a few cons of selling, you realize that you aren't able to go to all the late night parties or stalk all the Jack Sparrows for your photo album or Pin the Tail on the Anthro.  You've got a table to man and unless you have backup, you're going to be stuck there for 80% of the con.  You'll probably need to be there relatively early too.  Some of us can handle partying AND selling, but that's a recipe for a health nightmare!

Worse yet, you stop having fun at cons, altogether, because they are nothing more than selling opportunities for you rather than a place to be passionate about what you love with other people.  Sure, there's nothing wrong with making money, but attending only to sell can sometimes sap the soul out of the whole experience, especially if you don't sell well and end up demoralizing yourself instead.  I would personally rather be in the studio painting something for my portfolio that I can be excited about rather than selling at a convention I'm not really interested in. (Which is the exact reason for my break away from conventions this year)

Stay for the Fallen Angels and Masquerades

Hey guys, I thought you might want to check out my new arty side project!  If you're a fan of Jacqueline Carey's Kushiel's Legacy books, you really should take a look.  Otherwise, stay for the fallen angels, masquerades, and potentially erotic art. *waggly brows* (Might be NSFW at times, so you have been warned!)

"It was when I sat awake one night, an over-caffeinated adult now four years out of grad school wondering what I could draw for my fledgling illustration portfolio when I began to feel the thorns of Kushiel's Legacy in me again.  Did they ever really leave, I wonder?"

Read on at the full blog post, The Keys of Inspiration

I also have a Tumblr mirror for this blog here - http://kushielconcepts.tumblr.com

Just to make sure Shadowscript isn't neglected, I'll probably be cross-posting collections of sketches and things here.  However, the blow by blow action of visual development will be happening over at Kushiel Concepts, which will be strictly for Kushiel's Legacy related art.

I'm super excited to really challenge myself with this project.  Let the journey begin!

Click the image to go to Kushiel Concepts!

Anatomy of a Book Cover - Genesis Part 1

I promised art my last post and now I'm making good!  I've been a little silent around these parts thanks to a very serendipitous opportunity that came up to work with Wade Garret, an author who is about to publish his breakthrough dark fantasy book entitled Genesis: Book 1 of the Kingdom Come Series.  I've been contracted to bring his characters to life in a wrap-around book cover-slash-promo-art for his world.  After dabbling the past few years in licensing and portraits with the intent to verge into book covers this year, this was a challenge I was eager to take on!

Designing a book cover is a whole different beast than the art direction that comes with drawing fantasy images or just building a fanbase with your own scribblings.  In my experience, this brand of painting had little to no art direction beyond the basic subject matter and the freedom to create whatever I wanted (harder than it sounds! Sometimes more specific briefs can lead to a more cohesive image).

With book covers, however, there are very specific needs to be faithful to the characters, to make it look awesome, AND to entice a very specific target audience to pick up the book from the shelf.

It began with getting to know the characters via the manuscript enough to start formulating basic thumbnails.  I'm also working directly with the author instead of an art director, in this case, which means info directly from the horse's mouth, as it were:

After much deliberation, the winner was number 8!

How I Got into Leather Mask-Making

If you're new here, you may not know that I have an all encompassing hobby called leather mask-making.  An obsession, if you will!  All artists need something to get them away from the drawing board, which is why I turned to mask-making years ago as my 'insanity relief'.  Read on to learn more about how this obsession first grabbed me!

Eirewolf on Twitter asks: How did you get into leather maskmaking, and what advice would you have for someone who is learning the craft?

First thing's first, I always harbored an obsession with masks. Something about them was intriguing, mysterious, both revealing and concealing of our true personalities all at once!  If I created a character for my stories, to be sure I would find an excuse to put them in a mask! All philosophy aside, they just look cool.

I had made masks out of clay before (you don't want to see those. They're lumpy hot messes), but lightening struck when my good friend Windfalcon linked me to Merimask's awesome tutorial on mask-making!  Leather was a material with so many possibilities and the fact acrylics were involved made it easy to cross-pollenate with my interests as a fantasy artist. Merimask put the tools in my hands and helped me find the path to my own inspiration and I'm forever grateful for that!
I bought my first shoulder of leather with Windfalcon (who was my roomie at the time) and we split it, the both of us embarking on our own mask-making journeys (her stuff is wonderful and you should go check it out too)! Ironically, it wasn't till a year later that I actually touched my half of our hide.

I've been a mask-maker for a total of 4 years, which still makes me somewhat new to the craft! My first mask creation was this rendition of Ichigo's Hollow mask from the anime Bleach. I have since branched out into all kinds of original and cosplay design ideas!  I am definitely still learning, with stitching and riveting next on my mask-making skill list!

My advice to future mask-makers:
- For a cheap starter set, the Tandy stamp and swivel knife set from Hobby Lobby is great! Don't forget your weekly 40% off coupon from Hobby Lobby's website when you get it.  They have small sheets of leather you can practice on too!

- If you decide to sell your creations. Price it on how it looks, not your skill level! Customers only know that you're not a master mask-maker if you price your work at the level of a cheap amateur. A good mask is a good mask whether you've been doing this 1 year or 100 years. Pricing cheap is also a hard hole to crawl out of later when you do want to up your prices later.

- Have fun and be creative!  If you're on DeviantART, come join us at the LeatherMaskArt Group where we welcome all leather mask-makers to the community.

Thinking Long Term

It's been a minute here since I've really sat down to post in this journal since I moved into my new digs (other than the short jaunt through the studio). I've been slowly, but surely settling into the new space and entering a brand new phase of my life and art.  A whole new balancing act has begun and the time was needed to sit back and consider this without spreading my energies too thin across the net.  I've fizzled out of conventions this year for the same reason.  I needed time to sit back and gaze upon my work with a long lens without the obsessive selling haze of conventions and have decided I'd rather be concentrating on producing new and improved work, instead.

Another big change for me is the fact that I am living with a wonderful, loving partner who has willingly agreed to take on the bulk of our financial burden so that I can concentrate solely on my art career.  It's a definite switch from my previous situation, which involved barely combating my student debt with part-time work, leathercrafting, and getting by with what little commissions, royalties, and art sales I could make.  Some might find this surprising, but even though I've been doing this for a few years, I still consider myself more towards the beginning than the end of this endless journey to becoming a professional artist (or, to define this term more accurately 'professional artist' being an artist who makes the majority of their living off of their art).

The prestigious and encouraging Echo Chernik, whom I met at DragonCon last year, gave me the advice that it takes at least 10 years to establish yourself as an artist.  By that measure, I am only 4 years into this and only 'middle-aged' in my career!  If so, the last couple of years were my 'mid-life crisis'.  I've been struggling, mentally and physically, with this career path and if it really was worth the heartache it caused me with my debt, neck/shoulder issues, and the feelings of failure that come with not being where I wanted to be.  Your words really hit home for me Echo!  I had to stop holding myself to the standard that I was a 'failure' at being an artist because I haven't reached my predefined level of success in a mere 3 years.

I'm sure some people are wondering "Well you have someone supporting you now. What are you worried about?  Kick back and relax!"  As a proud, independent, and highly stubborn woman, it's hard for me to admit that I have to rely on anyone else to help carry me in any sort of fashion at all.  A whole slew of guilt can result from this arrangement with one's partner, including, but not limited to:

- You comparing yourself to your partner's profession (and therefore measuring which one is more important or worthwhile)
-  You feeling guilty that they're murdering themselves at work while you have 'the easy route' because you enjoy your job. (Thankfully, my spouse very much enjoys his work, which makes this worry easier to handle!)
 - And finally the kicker for any modern woman, the fear that you're reverting to old stereotypes where you are the content wifey who stays at home and cooks the meals and does her cute little art thing on the side (aka. art is not a serious job that will make any sort of serious money and therefore, again, not considered a serious persuit).

But if there's anything that I've learned about art, life, and love, it is a balancing act.  Before my boyfriend and I could come to this decision as partners, I had to examine my direction first, ask myself the tough questions.  Is pursuing art as a career worth the struggles we'll have along the way?  Can it really equal any sort of serious money, in the long term?

In the end, my answer was 'yes'.  If talking to other professionals who have 'made it' has taught me anything, it is that an art career can be both fulfilling and lucrative, but it hardly ever just falls in your lap!  One of the most important revelations I've had in the past year or so is that I needed to seriously sit and consider What am I passionate about painting and where does it line up with paying industries?  A lot of people fall short doing this (to which I highly recommend every single one of you read Jon's portfolio-building series over at The ArtOrder RIGHT THIS MINUTE).  Then, you are in danger of stumbling into the trap of Oh I'll just draw pretty things and someone will find me.

This is dangerous trap because it often leads to disappointment and I will tell you right now it can equal a lot of wasted years of meandering boredom with what you're doing or opening up your portfolio one day and realizing you don't have a single consistent example of the Cool Stuff you want to actually draw and get paid for. (This has recently happened to me. A client asked me for samples of a book cover and I had only...two viable examples. Ugh!)



I am realizing that every job and every opportunity that will come in my career is a victory not just for myself, but my partner as well. He believes in what I'm doing and knows that it is not a fancy or a phase, despite the fact many people around us are prone to think of it as such.  Most of all, he respects it as a job which requires the same amount of dedication, if not more, as driving somewhere and working for a paycheck.  These factors of understanding and respect were essential for us to agree upon before we could ever settle with our current arrangement.  I share these feelings here as a matter of posterity for those who might be dealing with the same conundrum of a work-at-home partner and any of the guilt that might be involved.  It takes balance and respect without judgement of yourself or your partner from either side.  It takes clear communication of what you both expect to achieve together.  Most of all, I know that if this wasn't our arrangement, I would still be pursuing the same goal.  My path being made easier isn't an excuse or a reason for success.  You gotta want it first, else you risk not just your own success, but a loved one's as well!

For now, I'm quietly phasing out the distractions from my career goals and working towards building my portfolio as a book cover illustrator (which branches out into all sorts of fun things, like CCG art and RPG art).  I have one simple goal for this year besides that, which is to attend Illuxcon and get my name out there to a few targeted companies.  I'm keeping it simple, maintaining my balance, and already I am feeling so much better for it!

I hope to bring you some actual ART to this art blog the next time around.  Till then, congratulations for reading through my entire wall of text!

A Video Tour of the New Art Cave

Have a video tour of my new art studio! It's as clean as it's ever going to be right now only because we've just moved in. Enjoying it while it lasts!