I’ve been wanting to interview Paul Hoppe for some time and it’s surprising I haven’t until now because . . . he sits right across from me every day! Paul is one of my studiomates in the Pencil Factory in Greenpoint, Brooklyn. Originally from Germany, Paul has been living and working in New York since he came for the masters program at SVA many years back. His clients have included The New York Times, The Village Voice, Simon & Schuster, IBM, and The New Yorker amongst others. Paul also does children’s books too, recently illustrating Neymar: A Soccer Dream Come True for Farrar, Straus and Giroux, which came out just a couple weeks ago. I emailed Paul some questions and he was nice enough to reply back with some thoughtful answers.
Congratulations, you got your first book deal! Now you’re probably wondering, “What royalties will I be getting?” Well, it varies. Let’s break down some areas:
This week, a new semester at Parsons begins in what will be my fourteenth year in the Illustration program. When I first started teaching, I was a bit nervous because no one ever really taught me how to actually do it—I was just kind of thrown in. Since then, I’ve learned a lot about what makes a successful course and I’d like to share my tips and general thoughts with those of you beginning to teach.
As self-employed freelancers, illustrators need to pay particularly close attention to how they manage their money. Do it correctly and you can pay your taxes easily, save for your future, and retire in style. Neglect it and your financial health may not be as rosy. These are my suggestions for managing your money:
Many illustrators use tablets to do some or all of their art. If you’re new to them, they may seem overwhelming. Having a pressure-sensitive drawing tablet, whether it has a screen or not, can make a huge difference in your workflow. Here are 6 ways they can help:
Since I launched my one-on-one consultation service, I’ve met with a good amount amount of aspiring illustrators. One thing that seems to be a commonality amongst them is the feeling of readiness—that their work isn’t good enough to start promoting. Well, here’s a secret: you’ll never feel ready. But don’t let that stop you from marketing your work.
I’ve developed and been involved with half a dozen animated pitches in the past few years—both as a writer and an artist. Unfortunately, for this site, I can’t post them as reference because many are still active or in different stages of development (or I’m just not legally allowed to share them). But I can briefly explain the elements that go into a successful animated pitch document. Here’s what you should know if you’re interested in developing an animated show:
I’m now offering one-on-one consultations via Skype or in-person in NYC. During these sessions I’ll review your portfolio and website, offer helpful advice, and work with you to advance your career. If you’re having trouble getting to the next level, these consultations will provide much needed guidance. To learn more and to order a session please check out the consultation page.
Last week the Pencil Factory—the studio space that I work from—launched a new website, which has micro-portfolios of all of the members of our collective on it. It’s a great website and you should check it out. (And I don’t just say that because I spearheaded and designed it.) This got me thinking about studio space in general and some of the benefits that come from having one.
If you’re looking to get a website up and running for your illustration business you should register your domain name with a different provider than your web hosting. There are a couple of reasons to do so which I’ll talk about in this post.