It happened again. Someone reached out from the internet with a burning question and I took the time to answer it. And they didn’t even bother to thank me. It’s such a small thing, but this happens to every professional. And if you’re that person who’s not saying “thank you”, it’s massively hurting your career.
Last post, I discussed why I save virtually all of my work as native PSD documents as opposed to other file types. However, there was one exception I noted: black and white line art. Here’s why, instead, I always save black and white line art as 1200 DPI bitmap TIFFs:
Photoshop has a ton of different formats to save files as—from JPEG, PNG, and GIF for web-based work to TIFF, EPS, and PDF for print. However, when I’m delivering final files to clients, for most work I use the native PSD format. Here’s why:
As an illustrator, copyrighting your work is incredibly important. It provides a number of unique benefits and is relatively inexpensive. Unfortunately, it’s also misunderstood by a great number of people. The following highlights some basic information about copyright that every illustrator should know:
One of the most frequent questions I get from young or aspiring illustrators is about having multiple styles in a portfolio. While it’s true that you should have a consistent style, it doesn’t necessarily have to be limited to a single one if you know what you’re doing.
Book covers are a unique market for illustration, however not many illustrators know about the long, arduous road they go through to be produced. Since I’ve worked both in-house at publishers and on my own as an illustrator and art director, I thought I’d shed some light on that journey. [Note: I work mainly in YA, which is a little different than adult books, so there may be some discrepancies.]
Illustration reps can be great allies for illustrators. However, while they may seem like the pot of gold at the end of the rainbow for many inexperienced graphic artists, there are some positive aspects and some negative aspects about having a rep that should be considered before teaming up with one. In this post, we’ll discuss those different facets.
Working with an illustration rep might not be for everybody, but for those who are interested, an agent can be a great asset. But how does an illustrator go about finding a rep? Let’s discuss the ways your work can stand out from the crowd.
Should an illustrator charge for sales tax when submitting his or her invoice? Though the laws differ slightly from state to state, in most cases the general answer would be “no.”
This time of year is when illustration majors everywhere are graduating from their programs. Here’s some advice for those of you about to embark on this difficult journey: