Tip Talk

>> >HI Jim, your drawings are just great ! But my favorit until now is still the water man of Jason Jesee. >My name is Alex , i`m 27 & and i`m an artist , i draw mostly surf t-shirt designs , a lot of fire, eye ball >sculls... in general art that goes for sk8, surf or snowboard designs. >I am in Montreal, Quebec and i`m just on the way to sell 4 really nice designs but i don`t know >how much do i have to ask (i red in the tip talks but you were speaking for rock t-shirt designs) >The first drawing is a logo for skateboard under the same name as the name of the skate shop ! >The 3 others will be used for t-shirts and stickers --My question is how much do i have to charge him? >My second question is : Do i have to sell them the original drawing ,a copy or i have to digitize it and >give him a Zip.CDor disquette ? > Jim Phillips thank you very much for your time ! > Keep on drawing... alex krastev

>> >hey Alex, Thanks for the good word! Pricing can be tricky, and can depend on many factors: (a) your time involved Keep track of your hours so you know how much time went by, and establish what you'll accept as an houly wage...for your own information. (b) The stregnth of the designs, (c) the need or marketability (is it just advertising or is it a product? for a product, an artist SHOULD get a residual, I say SHOULD because it's hard to get that, and you may trade off development money for royaties, and then never get them) (d) your financial needs (a bird in the hand worth two in the bush) (e) the competition (f) your relationship (frienships) with the clients (g) the arrangements already made (h) the economy (i) location (i) other factors It is generally best to have full understanding and make agreements at the get-go. The artist is at a disadvantage once he has completed the work. Having equity in the project means you have a serious stake in completing the deal, or you may lose your the investment of time involved. They KNOW this, your client may not have any time into it, maybe just a phone call, so they can walk away from it and not get hurt. It's a common SCAM! I have people all the time trying to get me going on something without investing anything, because they want to use my equity against me later, like a crowbar, to take advantage. It's a very weak position for an artist to go into that kind of negotiation. This was one of the biggest problems when I started, and I learned the hard way how to fix it. The ONLY protection you have is to take a deposit, 5O% of the estimated cost of the art. That way: (No.1) if they are willing to spend money upfront, you know they're serious. (No2) If you can't get money from them before, that's a warning sign! It'll be even harder after since they'll owe you twice as much. No3) If they balk, then you walk away with at least something, which is rightfully yours. I even posted a little sign over my drawing board so I didn't need to remember each time to tell them..."TERMS 5O% IN ADVANCE, BALANCE COD It's the way to meet halfway. Anybody who doesn't like it was ready to take advantage, so good riddance. It's good to get the money on delivery, because many times you'll have to chase after it. Once you know a client, you know whether you can trust them more, and can relax your guard a little. Don't worry about this particular deal, get what you can and even if it goes sour, feel lucky that you learned something from it that will pay off for many years. Compensation can be relevant to other factors. It sometimes helped me get places to do work at rates where I hardly made anything, because often, other people saw it and it lead to more demand for my work. In fact I like put more into art anyway just to make it good, and it's critically important for your art to be good. If it's good, then eventually you'll be compensated enough to make it well worth it! An artist can profit from certain kinds of publicly visible work, By donating your work for, say a benefit poster, you can support your favorite cause and get advertising for your work. ***IMPORTANT ***ALWAYS KEEP THE ORIGINAL DRAWINGS! You don't even have to be upfront about this unless they ask about it. Give a copy, stat, digital file or whatever. Offer the original for sale if they and you want. Good Luck, Bein' an artist is the BEST! Keep on rippin!!! Jim

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>I am a artist interested in drawing and designing art >for skateboards, posters and t-shirts. I was wondering >how you got started and if you could give me any tips >on getting started. It would be greatly appreciated. >I think you are good artist and I've liked your work >for many years. >Thank you. >Sincerly, >Gabby

Hi Gabby, Thanks for the good word, skateboarding was an offshoot of surfing,(sidewalk surfing) The big revolution happened in 73 when the urethane wheel was developed some of my surfing friends who distributed resin to surf shops heard about the urethane from the plastics industry they worked with, so they started Santa Cruz and asked me to do graphics. So I was right there at the beginning. In a way it was hard because there wasn't any skate image or style but then it was also easy because no one had used all the good ideas Today is it hard to imagine graphics that haven't already been done, and there's so many companies cranking out tons of stuff and computers have made it easy to produce cheap "clip art" it's hard for a new artist to have any impact on the scene. But don't let that stop you, there's always a need for fresh blood! Just work hard at it and don't give up. Send copies of your work to many of the companies you like, if it's good stuff you should hear from somebody. Volunteer to do stuff for free, just to get started. for instance, I've done benefit posters and gotten good advertising for my work. Don't limit yourself to just skating, but keep aiming at it. It's not easy, but you'll get there if you work at it. Good luck Gabby! Jim Phillips

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>>hi jim, after finding your site while looking for rock poster artists, i was surprised to find out you designed tons of skateboards. i'm a fan & didn't even know it. i was wondering if you would take the time to answer a few questions. first of all, i've spent hours on the net looking for info on how posters were made before computers. i know they were pen & ink, but were colors serigraphed on? what was your main method, from concept to finished work of art? also, any tips on the art would be greatly appreciated. thanks--chris ____________________________________________________________

Dear Chris, Thanks for your inqury, Posters: The "old world" method of preparing posters for serigraph or litho printing usually involved a Rubylith overlay placed over the ink drawing for each additional color (Rubylith is a red film that peels away on areas that are not colored). I also used the "Blue Line" method that was used on many of the 60's SF litho'd posters, where the keyline was printed light blue on 3 boards, red, blue and yellow,then india ink was used by the artist to fill in color on those plates, the blue lines would then not reproduce. I devised a few different ways of doing it. _________________________________________________________________________ >>Hi Jim, It's very hard to find info on this subject.Since I can't tap into your brain about this, I'll try to be specific. I'm starting to use crow-quil pens (I think--there are different tips that can be attached on these 'dip' pens) plus Rapido-graph technical pens. Am I on the right track? I was thinking of using thin illustration board and doing line art, then coloring with pens and brushes. But should I forget this and just do it on the computer for the printer, since they charge to scan it? The whole reason I want to do the art by hand is the satisfaction, y'know? The computer is fairly easy compared to hand-drawn art. I think my main interest, as far as printing goes, is serigraph. I found a place that stocks the screens, inks, etc, and have a book explaining the processes. You mentioned Rubylith. Is that the film that's exposed to light, imprinting line art on it to attach to the screen to block out areas? Whatever tips you can suggest would help tons. _____________________________________________________________________

Chris, I enjoy answering questions about art if it is a help. Crowquill pens: I used Hunt 107 Crowquills quite a bit during my old-world days. I think they offer a flexibility of line that is worth all the dipping and risk of spill. Try using it upside-down for extra fine lines. They always seemed to work better after aging with use, so when I broke one and had to start off with a new one I'd break it in fast by rolling it around gently on some 400 grit wet/dry sandpaper to get the sharp edges off of it. Then it isn't so likely to catch fibers of the paper. Get a small wide mouth(1")ink jar (with a wide base to help avoid spills). When not in use keep a lid on it, keep the ink fresh, it will coagulate fast especially when the weather is warm and you won't have a clue why your pens aren't working. Use Pelican ink. Pen Opake brand for white. I always use white ink after black. Keep a separate pen for white. For accidental blobs use Gesso,then you can ink back over it. I keep a toilet paper dispenser under my table, for spills & wiping crowquills off. Always work from top to bottom with ink. Of course I use Speedball B2's(for instance) for filling in (wash them out immediately after each use) or brushes. I'd also use fine sable 00,01,&1 brushes (wash them with brush soap immediately then point them with your lips) for feather shadowing, comic book style . Check out Nestor Redondo's work, He's worked on some Swamp Thing issues, Rima the Jungle Girl(I have the whole set) and that oversize comic of The Bible, outrageous ink work! Do you have a slanted drawing table? Two reasons, your back,and viewing your art properly. >Rapido-graph technical pens: Theyre such a nuisance to keep going, I've had alot of them dry up. Mabe with a humidifier. I've gotten into alot of Sharpy and felt pen use. Make sure that they won't bleed back thru your white ink, some felt pens will also smear. >thinking of using thin illustration board: I often use board that's thin enough to use on a light table to trace my rough sketch with light blue before inking. "railroad board"w/ smooth (coated)top. >doing line art, then coloring with pens and brushes: You might want to sprayfix your india ink work so it doesn't bleed. >But should I forget this and just do it >on the computer for the printer, since they charge to scan it? When I started with a computer it was to color my inked keylines,comic book style. Then I started taking out alot of lines that weren't neccessary, then I realized I didn't need the lines, so now I usually just do a pencil sketch and scan it. Sometimes I'll do hand lettering with black Sharpy to scan - then color. >reason I want to do the art by hand is the satisfaction: Satisfaction can be had with diverse methods. Even with a mouse it's by hand actually. >computer is fairly easy compared to hand-drawn art: I always say Twice the work in half the time. But you don't wind up saving actual time because of all the more you are able to do. The word "Easy" is relative and should be used cautiously, and you have to weigh in the overhead expense. >interest, as far as printing goes, is serigraph. I found a place that >stocks the screens, inks, etc, and have a book explaining the processes. >You mentioned Rubylith. Is that the film that's exposed to light, >imprinting line art on it to attach to the screen to block out areas? It's used to block light to expose emultion in silkscreening (also amberlith). ___________________________________________________

>>Have you considered explaining the details of your old school techniques on your website? Do you know where else I can obtain information? I'd hate to keep bothering you with newbie questions. Peruse your Library. Most all drawing books have value. Build a pesonal library. Read comic books. ___________________________________________________

>>Hey Jim, I can't thank you enough for your reply. What a wealth of excellent information you have! It'll really help me put my ideas to work. Maybe I'll send you some of my art via email for a little constructive criticism. Thanks again, Chris ______________________________________________________

Paul, thanks for your letter, I receive many letters of this nature and enjoy giving whatever advice I can to help young artists. Whether to pursue a career in art is a complex issue that could fill a book, and you might be more confused after reading this, but I'll give it a shot. Much depends on your talent, proclivities, propensities, expectations, financial situation and so on. Obviously I can't make judgements about your abilities without checking your portfolo. You say all you do is draw so I'll asume you love it, that it happens without making an effort. Art is without doubt one of the hardest ways to make a living, earning rightfully the tag of "starving artist". But, on the other hand, it is one of the most rewarding occupations possible. If you have support, like rick Griffin had of his father it will be easier. You may be able to make do without, but it will be more painful. You will have to work harder than at most other jobs to create comparable income for extended periods. You will, at most times, be in a very vulnerable situation, one that almost everyone tries to exploit. Art is not something anyone needs, good art they need less, and most can't tell the difference. Art depends on your emotional sensitivity, the part of you that will be continually under attack, which you will need to develop a tolerance of while your creativity hangs in the balance. I will add though, that sure, not many people need art, but some people, especially some companies, desperately need it and will offer substantial compensation to get it, that's what you call "havin' em by the short hairs". The choices you have available at OCAD is really no choice, graphic design,advertising and illustration are all just commercial art, but that is the route I wound up with after studying fine art at my school, California College of Arts and Crafts. So you are in the best place to survive as an artist except for the fact that advertising will suck your brains dry. Rock posters seems a groovy type of commercial art but it pays so poorly that you are forced into marketing with them to justify the work, and then you start wearing alot of other kinds of hats. Commercial work tends to fragment and stagnate creativity, but you don't want to fall into the starving thing, and it is art that actually pays. Another painful choice is whether to work for a corporation or go freelance. My freelance years have provided me with freedom that few workers enjoy. Imagine flushing away most of your time on earth in a cubicle, for some corporation's profit, buying things you really don't need just to justify being trapped in the rat race. But the responsibility of a freelancer generating enough work for his family can be awesome. Managing your own clients can be a can of worms. My interests were art, surfing, and later rock. I started doing surfing cartoons, which led to my skateboard work, and then rock posters. I've been involved with many other products since advertising introduces you to many. ad art puts you on the leading edge of many innovations, and is one of the benefits. If you are a Christian as I am, you have the will of God to lead you, and that takes alot of anguish away from making decisions. Feel good, an artist can help make the world a better place. Good luck! _______________________________________________________

>>I am interested in the grand opening of the FD new series that you did. It looks a bit like Popeye to me...........Philip

Philip, I was called by Maritime Hall owner Boots Hughston about doing the grand opening/Gregg Allman poster around August of 1995. He told me he wanted Popeye on the poster. I protested, arguing that Popeye is owned by King Features Syndicate, one of the largest comics agencies, that these characters are jealously guarded by their attorneys. But he insisted, citing the Tribute to Dr.Strange poster(Family Dog), Captain Marvel(Kesey) and other traditional psychedelic usage of established images. Personally, my own artistic path was littered with such usage. So I began to thing how I could accomodate Boots wishes. I brought out some of my Fleischer Brothers books. I discovered that Popeye was actually created by Elzie Segar for the Thimble Theatre, appearing first in 1925 in the color comic pages of the New York Journal.By 1932 Max Fleischer thed picked Popeye as the figure on which to move his animation career to the greatest world-wide sucess this side of Disney. When you consider that King Features probably didn't even know Elzie, who died in 1938,and see how images are given to us as children but restricted later as artists, the propriety begins to seem outdated. Artists want to be free, to create any image that exists . Then I got an idea! I imagined Popeye as the person in the Family Dog logo. I pictured Popeye sticking out of the logo with the Indian's hat and pipe.. I thought it was funny, and always like to involve humor in my work whenever I can because It makes people feel good to laugh. I made a pencil sketch of it, and showed it to Boots meeting up at a benefit concert in Petaluma. Boots liked it and I went ahead with the artwork. We eventually decided that it wasn't popeye after all, but his hippy brother, Deadeye! ____________________________________________________________________________

Jim, I emailed you a while ago and asked you a few questions about the field. I used your answers for inspiration and i thank you for replying. Now my question has to do with money. I don't have anyone around to answer it. I'm at home from school for the summer so asking my instructors is kind of out of the question. Anyways, this is the thing... I just got notice that this band wants me to illustrate some things for them so that they can use them on tshirts...they're a well known band around the country...how much should i ask for pay just so that they don't scam me out of some money? That's it . thanks for listening. >paul

Hi Paul, A standard for a tshirt deal is $500 for the art, and 5% of gross sales, which amounts to about 35¢ per (get it in writing). I usually ask for 50% advance deposit, balance COD, but since your dealing with rock and roll it can be harder to get the front money. It depends also whether you are thinking of getting involved in rock music art, it could lead to other work in the field. If they are well known as you say, a tshirt royalty could turn out to be sustantial regardless of the quality of your work. It may be well worth investing if asked to waive the front money, however they should be able to pay if they are that big. Smaller unknown bands are usually on a shoestring budget. If your art is printed on paper, like as posters, you stand to get future dividends in the rock memorabilia market for almost any known bands. Sketch up some hot ideas so that you have some leverage for negotiating and give them confidence in your work. Good luck, let me know how it turns out

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