Transitioning to a Career in Art

[NessIllustration]

@JaneElliott27 Actually I've noticed most people at SVS and here in the forums are not fresh 20-something art school grad! Don't worry you are not an exception, you're in good company here!

[JaneElliott27]

@NessIllustration I'm just starting to look at the forums - I'm still on my first class ! Thanks Ness !!!!!!

[charitymunoz]

Thank you so much for this episode! I am currently restructuring my life to make room for illustration (in the practice phase right now). It's so encouraging to know that I'm not the only one working around kids and jobs. We've started with preparing our family - I've just stopped homeschooling our kids, set up my work so it's only 3 days a week, and got my 3yo used to looking for me in the studio rather than the kitchen each morning. I am very grateful that I've received an education in being an entrepreneur/working for myself from my husband and that I have flexibility in my job since it is our business that I help run. This episode gave me a more realistic view of how to plan the next phase of my illustration career and inspired me to continue carving out time wherever I can. Thank you so much again!

[Lee White]

@Whitney-Simms You have no idea how much research I've put into framing. It is truly a stumbling block in gallery art/art fairs if you don't know what you are doing. So here's what I've learned:

1. Work in common sizes
The big framing costs come from having to custom frame something that is a weird size. There are some great places online to frame if you already have art made, but moving forward only make art in sizes that work for standard sized frames and mats that are pre-made! This tip alone can save you literally thousands of dollars. I've listed below the common sizes of frame/mat combo so you know what size to make the art. I typically work at 24x30 or 30x40 for my newer work.

2. Frame DEPTH and WIEGHT
This is how deep the frame is from the side. Why in the world would this size matter? Well, there is only so much room in your vehicle or trailer. If you use frames that are 1" deep instead of 2" deep, you can bring TWICE AS MUCH ART TO THE SHOW.

Weight is also a huge factor. If you are painting on deep canvas or cradled panels, you will need a deeper frame to fit it. That means weight. Weight and shipping don't go well together! I try to keep my frames and art as light and thin as possible for shipping and transportation.

3. Try to frame nice, but keep costs down!
You aren't trying to actually frame the work for the audience. You should assume they will frame it themselves later. So your frame is to show the art off in a nice way and to protect it during travel and shipping. I'd much rather break a frame corner than the corner of my painting! Keep the framing VERY SIMPLE. Either black wood frames with nice white mat or natural wood finish like maple has a very modern feel. Buy in bulk and keep all the frames consistent.

OK, here's some resources:

Custom Framing: If you already have weird sized art, I recommend going up a size with the frame and getting a custom mat with a standard sized frame. But if you have to have a weird size frame, these guys are great!: www.frankenframes.com

Custom mat: If you want really nice thick mats, these guys are great. You can have custom size art or whatever you want really for a very good price: www.matboardplus.com

Great standard size frames:

Floater Frames (these look great and quality is great too). Only snag is limited sizes: https://www.dickblick.com/products/blick-maplewood-floater-frames/

Maple Floater frames at all kinds of sizes. This is who I am using to frame my next show. They are cheap and beautiful! I'm painting on panels which allow me to use their panel frames. These are only .75" thick so I can bring a lot of art. These guys have a lot of sizes and they are wonderful to work with. Highly recommended: www.canvasplace.com

Glad you guys are liking this episode and I hope this helps with some of the framing questions. Let me know if you need anything else. : )

-Lee

[jthomas]

@Lee-White Is there a reference for business plans available?

[Whitney Simms]

@Lee-White holy cow! Thanks for all the info! That’s a wealth of knowledge right there. Love the place you can buy mats in bulk. That’s fabulous. 50cents a mat and backer sound great. I don’t use canvas, but those floater frames make me want to do some. They look lovely. The other frame sources are good too. It’s so hard to invest in your business. I wish i could pay $1 a frame and it still look nice! The mindset of this is for showing off your work and protection vs finding the most wonderful frames for you patrons helps a lot. I didn’t even think about the width of a canvas. I know it’s fancy to work on the thick sides, but traveling with them thinner makes so much sense. And painting on the edges is fine, but I bet it is SOOOO much safer to frame those corners like you said.

The standard size info was helpful too. I worked at Michaels in the frame department in college. I totally recommend working in framing as a supplementary income to artists. It’s super helpful to learn those skills. Like knowing how to cut your own mats and how much cheaper things are if you work in standard sizes. Those will help your bottom line. I did a few pieces that I painted on the actual size (5x7) and now they aren’t centered. Now i have to cut custom mats. Always leave room in the margins!

Thanks again Lee! So much useful information.

[Nathalie Kranich]

So many good points in this podcast!

In my own experience, I know that I definitly didn't appreciate my time as a student, and when I was unemployed after I still didn't have the vision and discipline to properly focus on my art work. Working in an office for a couple years has gotten me used to a 9-5, so working 7-8 hours a day isn't this horrific new challenge anymore. I'm much better now at keeping myself a to do list and motivating myself to work.

[sigross]

@Lee-White This is helpful as I'm a sucker for impractical dimensions. I draw a lot in panoramic dimensions so its hard to go standard with that. But have a good relationship with a gallery who frames. I find the museum UV anti-reflective glass is the most expensive thing. It makes a massive difference when lights are shining on it in a gallery. I've started painting more on wooden tintoretto blocks so I can avoid glass and just put the work in box frames or not even frame at all as they're pretty tough and easy to screw in hanging cable.

[Lee White]

@sigross I NEVER use glass. It only has downsides with almost no upside. So I varnish my watercolor paintings to exhibit with no glass.

[sigross]

@Lee-White I dunno varnishing a limited edition sounds like too much work for me. The posh glass is pretty tasty. And wiping dust off glass is easier than off a bare print. I live in London, it's filthy here! But I wouldn't use glass on a painting.

[Lee White]

@sigross I don't varnish limited edition prints. I typically am showing them in a bin and they are wrapped with a plastic bag and a backerboard from www.clearbags.com

[sigross]

@Lee-White That makes sense. A lot of my limited editions are hand finished screen prints or straight screen prints. I've only just started doing limited edition digital prints - so I only need to print when I get an order. I would normally frame one of the screen prints for display or for art competition entry. That's where the glass comes in. I've started using Artpakk bags for transport as they are archival and protect art really well, can be shipped and reusable. www.artpakk.com

Thanks for posting the link to those bags. Need something like this.

[monkeymintaka]

I loved this episode! I work full time and my dream would be to go part time in 3-4 years. I still like my job though and I'm lucky that it's in the creative field (motion design) but that is also a draw back sometimes when you feel burnt out creatively when you get home.

The episode mentioned "am I too old to start" is my absolute favourite episode, I've listened to it every couple of months since I decided to get serious about illustration - it's a great motivator!

Also, @Lee-White can't wait for your YouTube channel!

[Whitney Simms]

@Lee-White I have never heard of varnishing watercolors. Put that on the YouTube!. I would love to see how that works. I don’t use fancy enough paper in my day to day paintings. I think it would lift some of the paint. On my larger commissions, that sounds like a really cool idea. Do you still mat them? Please do a video on this process, or snap a picture for us!!!

[verysamish]

Lots of great practical info in this episode. I appreciate the thoughts for those who are not just coming out of school. There sure are a lot of challenges stacked up against making an art/illustration career work in a sustainable way. As someone who is probably too old, with too many kids and expenses, this episode was also deeply discouraging. Maybe things will look more hopeful tomorrow?

Loving the podcast though. Keep up the great work!

[Jad Bautista]

@Jake-Parker I just saw this post and i will listen to the new episode right away. I am in this same point right now where I am very fortunate to have a day job that provides for my family and fund my art at the same time. Also very fortunate to have a supportive wife who already agreed to start this transition haha!

[Alzamon]

Just had to be the one unearthing old topics... because in 2021 this subject is all me. In fact it may be the core reason why I'm roaming here at SVS.

Not sure if my case is one of "transition" as I actually majored in art and design a long time ago, but of "fulfillment" since I've been at this crossroads of disconnection between what I currently do for a living and what holds meaning to my own self and my life, which is making illustrations, animations and dealing with creativity for the kids' market in general. I don't see myself restricting to children's books — I like to cast a wide net: 3D, 2D animation, mascot design, video editing — you name it.

The advice of thinking twice of jumping ship is spot on, specially if you are used to a biweekly paycheck rain or shine. The creative life is more often than not a life of uncertainty, and I'm well aware that if I finally take the plunge there's no turning back — I'm close to my 48th birthday, single and have hefty savings, but that doesn't make the decision any easier. Everything's sunshine and rainbows until you begin to run short on funds; I've already been there and can't afford to go back again.

Because I know my problem is one of time and energy availability to move further ahead, a part time position at my current job (IT) would be the ideal "golden ticket" to a smooth transition to the creative field. However that kind of arrangements are virtually unheard of in my local scene, even if according to a friend lawyer of mine they are technically possible. Probably the wisest move in my part is to wait past Christmas so as not to wreck my year bonus, to see what can be done.

Rest assured this episode struck many chords with me. Wish I had discovered it earlier.

[Katie Struk]

@Kasey-Snow I'm a high school art teacher (10 years now). Also struggle with the work load and emotional and mental investments that educating and managing kids requires. It's incredibly challenging to make the time and energy needed to make art. I was making some progress before covid hit, but now I'm mostly a shell of a person just trying to put the pieces of myself back together. I have intense admiration for anyone who manages to break free of the public education system. It seems impossible to me most of the time. I don't personally know anyone who's gotten out.

I would love to hear more stories of public educators elementary, middle, and high school that somehow made the transition.