How much pitching is too much? How can I stylize my work? What pitfalls should I avoid in my first book? Watch now to hear Jake Parker, Lee White, and Will Terry answer all this and so much more!

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SHOW LINKS
Skydance Animation
JakeParkerArt.com
A Series of Unfortunate Events illustrated by Brett Helquist
Critique Arena
How to Fix Your Art
Rebelle
Cal Newport
Jon Klassen
Carson Ellis
Rebecca Green

KEY TAKEAWAYS

Stop creating art to impress other people. Develop your style and share it boldly; it has value because it’s unique to you.
Making art is like working out; it requires consistent practice. It’s not always glamorous and not every piece turns out, but each time, you’re strengthening skills that will serve your art well over the long term.
If you struggle to start drawing, find ways to make it fun. Make lists of things you’d be excited to draw. Make master copies in your style. Take the pressure off and remember that the more you draw, the more comfortable you’ll be with the results, whether good or bad.

QUESTIONS

Mag asks, “I’m starting my first book project with a big publisher! Are there any things a beginner like me could easily mess up?”

Yes, there are! Watch out for these common pitfalls:

Tightening up because you’re nervous. Insecure artists often assume their style isn’t professional enough, and they’ll ditch it in favor of more realistic work to impress art directors. Remember that you were hired because of your style, not in spite of it. Let your quirks shine!
Not communicating clearly. If you’re going to miss a deadline, tell your art director and publisher as quickly as possible. They’re on your side, and all of you will work best when you’re upfront about your questions, needs, and progress.

Not staying true to your story. You’ll receive mountains of input in the process of publishing a book. If someone suggests adding elements that detract from your storyline, use this phrase to gently push back: “My story is about _____. How does your element add to that story?” Their response will show you if their suggestion is helpful or hurtful to your vision.

Bailey asks, “You talk a lot about web portfolios, but do you have any advice for making a killer print portfolio?”

Make sure to print your images large enough and in a nice layout (graphic design is super important in print portfolios!). Images often print much more saturated and dark than they show on-screen, so be certain to color-correct (and make some test prints) before creating the final product.

Irene asks, “What’s the difference between picture books and black-and-white interior illustrations for chapter books? The latter is a niche I’d like to enter.”

While picture books include full-bleed illustrations, chapter book art usually consists of chapter headings and spot illustrations. These pieces often require a graphic style that can be executed quickly, as a single book could have over one hundred images. Chapter books also include the potential of earning royalties.

Ash asks, “Any advice for artists who work too slowly?”
Stay the course! Eventually, you’ll find a process that works for you, and having that series of steps locked in will give you more time to focus on creative decisions. Working slowly isn’t all bad, either; it allows you to spot and solve problems you’d otherwise gloss over.

Jason asks, “How many agents should I pitch to before calling it quits on a project?”
That depends on the project and your skill level. Twenty-five pitches are generally enough to see if your project is worth pursuing. If you pitch ten times and get positive feedback (even if they don’t make you an offer), that’s a good sign; if the response is radio silence, you’re probably a good candidate for a portfolio review and skill building before you go out and try again. If your subject is very niche, self-publishing could be a better route for you.
Julia asks, “Something’s holding me back from drawing; do you have advice?”
Drawing is more like working out than performing; it’s a daily exercise for your brain and muscle memory. The more you do it, the better and more comfortable you’ll be. Starting is the hardest part, so make it fun! Take a week to write a list of stuff you want to draw. Get excited. Doodle. Make master copies in your style. Lighten the process as much as possible.

Kirsten asks, “How do you make the jump from using realistic light and shadow to using it selectively in a stylized way?”

Make practice pieces controlled entirely by local color- no lighting. (Study Jon Klassen, Carson Ellis, and Rebecca Green for inspiration.) Once you realize that local color and value are more important than lighting, you can use (or leave out) light and shadow to meet your design needs.

LINKS

Svslearn.com

Jake Parker: mrjakeparker.com. Instagram: @jakeparker, Youtube: JakeParker44

Will Terry: willterry.com. Instagram: @willterryart, Youtube: WillTerryArt

Lee White: leewhiteillustration.com. Instagram: @leewhiteillo

Daniel Tu: danieltu.co.

Lily Camille Howell: lilycamille.com

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