Art by Analise Black
Should I limit my colors? When should I learn digital? Jake Parker, Lee White, and Will Terry answer these questions, plus best practices for selling at conventions and more!
ASK A QUESTION
JOIN US ON PATREON
Note: We’ve done our best to provide relevant links to products mentioned in this podcast. SVSLearn and the 3 Point Perspective podcast are supported by qualifying purchases. Thank you for your patronage!
SHOW LINKS
Want your portfolio critiqued by a pro illustrator? Join SVSLearn today for the chance to book your review!
Ian Falconer
Jon Klassen
Brom
Dan Dos Santos
Gregory Manchess
Chris Van Allsburg
David Wiesner
Don’t Let the Pidgeon Drive the Bus by Mo Willems
Bill Joyce
Travis Hanson
KEY TAKEAWAYS
Selling at a convention? Be approachable, but give customers the space to browse without pressure. (Pull out your sketchbook- look busy!) Plan when and how you’ll engage with customers to avoid awkwardness for everyone.
Limitations are fertile ground for creative solutions; impose some rules on yourself to generate fresh ideas.
Slay indifference by turning that heel-dragging assignment into a potential portfolio piece.
QUESTIONS
“How limited do you keep your color palettes for children’s books?”
We like fairly limited palettes (see Lee’s example in the YouTube video). To stay on track, create color swatches to refer to throughout the illustration process. Limited palettes are seedbeds for creativity; if blue isn’t on your palette, you’ll have to come up with a different (and likely more interesting) solution when you need to paint a sky.
“Which paper is better for illustrating in watercolor: hot or cold press?”
Either work! The texture of cold press paper causes paint to even out across its surface, so your result will actually be less textured than hot press paper. Cold press is also great for creating dry brush texture. Experiment with both and see which you prefer!
Jason asks, “What have you learned from book dummies that didn’t get picked up?”
Historically, the guys’ books have been turned down for story problems, not illustration shortcomings. Make sure you’re workshopping the plot; you don’t want the ending to be too predictable or the tone too preachy.
Tina asks, “What’s the sweet spot between trying too hard and being nonchalant?”
Avoid indifference; even if you’re not super invested in a job, you don’t want to become known for lackadaisical work. It’s better to work non-art jobs and channel your creative energy into great work than to live off of making subpar art.
With any job, aim to get at least one portfolio piece out of your time. That could mean working above your pay grade, but if you’re going to create something anyway, it might as well be good enough to help you land future jobs. This will help you stay internally motivated to do your best work, even when the assignment isn’t your first choice.
Sparrow Light asks, “Is it important to focus on making your style stand out from others? I used to paint realistically but lately have changed my style to be better suited to kids’ books.”
Your style is less important than your subject matter. You could spend all your energy trying to stay trendy or stand out, but in the end, kids just want to see pictures of things that interest them. Whether stylized or realistic, if the subject appeals to the child, style doesn’t matter. Develop a style that pleases you, hone your ability to execute it well, and then create images that speak to what your audience cares about.
Sarah asks, “When self-publishing a book, is there a format you should follow for the copyright info at the front?”
Our best tip? Look at other books similar to what you’re publishing. You can draw from their formatting and modify it to fit your needs. You have a lot of creative freedom when you self-publish, so don’t hesitate to add fun details such as acknowledgments or the date and place of printing.
Brian asks, “Should you learn to paint and draw traditionally before you start in digital?”
Not necessarily; you can learn both simultaneously. Digital media requires computer savvy, so dive in as soon as possible and discover all those keyboard shortcuts while you master basic art skills. Working traditionally will inform your digital practice, so keep a physical sketchbook and at least experiment with traditional painting alongside your digital work.
Mimi asks, “I just got into my first comic convention and plan to sell prints, stickers, and a book of my comics. What do I need to have to display my work?”
Jake likes wireframe shelving units, which are excellent for their portability. Make sure whatever displays you choose, you can show your work in tiers rather than leaving everything low and flat on your table. Make sure to research any height restrictions for props at your convention. It might be helpful to Google around or attend a few similar events to see what others are using.
LINKS
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
If you like this episode, please share it, subscribe, and let us know your thoughts or if you learned something new!
If you want to be a part of the discussion and have your voice heard, join us at forum.svslearn.com.