progress/ i dont know how to treat the rest of it
wip medusa which may turn into a garter like tattoo on my thigh. i like her face but its hard to keep the snakes from getting cartoony.
ahahahaha now we have 400 followers! this is very cool, you’re all cool, and to show you how cool you all are, we’re going to do a small and shitty giveaway!
To that end: reblarble or like this post to win an original small (A5 or below) drawing by one of us* which we’ll post to you in the post.
hilar giveaway ends on Friday 7th!!!! GO GO GO MORE EXCLAMATION MARKS
*most likely Lucian, Mal or Graecen but if you’re really lucky you’ll get someone who can’t draw at all like Weiss
crossing fingers. i love lucians work and his head people (yay Weiss!) so i hope i win. sorry to anyone who follows both my blogs for the double post but dammit i wants!!
All right, here’s my contribution to the art tutorial infographic world, part 1 of 2. I’ve noticed that even in professional illustration, so often the humans and environments and armor and whatnot is really, really great— correct anatomy, lighting, proportions, like ‘wow this is fantastic WAIT what is up with that HORSE?’
I suspect two things;
First is that I spend 15 hours a day, 365 days a year looking, touching, handling, and just generally being around horses.
Second is that most people do not.
Artists have lost touch with their connection to horses as contemporary society has lost touch with them. Generally, we don’t have that constant presence of horses in our lives that previous generations did, as horses aren’t part of the everyday landscape any more. They don’t work the fields, they don’t cart the goods, they don’t deliver the mail or transport you to the next town down the road.
However, we still see horses all the time— in movies, books, illustration, ads and logos, we are presented with the image of horses all the time. So we assume ‘yes, I have seen horses often and I know what they look like.’ Because of our exposure, we as artists don’t always feel like we need to heavily reference the animals as if we were drawing something we don’t see everyday (say, like elephants or giraffes or sea cucumbers). Our brain just kind of plugs in ‘horse shaped’ and we go with that.
And I suspect that ends up being where a lot of these common mistakes occur. Dogs are familiar, but we can easily find a dog to draw from live, to see the way the shapes of its face are put together in 3-dimensions. Cats, humans, birds… if we venture just a little ways outside our studios (or in some cases, inside), we can find live models to study easily.
You can’t really do that with horses. They’re a commodity, sequestered away behind fences on private farms and shuttered away in barns. So few people really get the chance to be up close and have that hands-on experience to really learn how a horse is put together.
So here’s some things, based on my own experience both drawing and working with horses, that might help you if you find yourself needing to draw one for yourself.
The approach I took might be more complicated than absolutely necessary, but I tried to present the subject of ‘how to draw horses’ a little differently than I’ve seen it done before. I hope someone finds it understandable, and more importantly, helpful!
If you share this, please don’t delete my commentary about it above. Thanks :3
very needed right now. i work at a stable and im just having trouble drawing my babies. so expect a few horse paintings to come.
im not even an artist and these prices are hurting my feelings
This is what I have to dig through every time I look for new jobs to apply for.
For non-artists, let’s give you a little perspective.
For me, an illustration takes a bare minimum of 6 hours. Mind you, that’s JUST the drawing part. Not the research, or the communications, or gathering information. Just drawing.
That’s if it’s a simple illustration.
My art deco or more detailed stuff can take 20+ hours each.
Even simple, cartoony things still take at least 3 hours.
Let’s go with the second one. 2 illustrations for $25. Figuring 6 hours each. 12 hours total, for JUST the drawings. That’s approximately $2.08/hour.
Asking these prices is an insult. But what’s even more hurtful is there are people out there that will take these jobs. Which only encourages rates like this to be acceptable. And there are people who will try to say these are just what you have to do to get started.
I believed that. So my first coloring gigs were just $10/page. The day someone offered me $25/page for just flatting work, I realized just how wrong I’d been. I’m still not making the rates I’d like, but now I refuse anything below $25/page. Because there is value in my time.
In any standardized industry, even ones that pay piece rate over hourly, these numbers are criminal.
Do your fellow artists a favor. Never accept jobs like these. There are others that pay legitimate rates. Or at least closer to legitimate.
Such baby bullshit. Don’t even get out of bed for these rates.
If you are an artist who wants to make money off their art, I highly suggest you buy The Graphic Artist’s Guild Handbook. It goes in depth about copyright issues and even contains contract and model release templates. The 2013 book *I believe* states the average professional charges $72 an hour. This article calculated that to make a 40k annual salary you would need to charge about $60 per hour.
After graduating from Art Center in 2012, I think I asked for somewhere between $35-45 an hour and got laughed at by multiple big name clients, which was infuriating, sadly expected, and terrifying with over $100K worth of student loans staring me in the face. If they tell you it will be “great exposure” that’s a red flag. Ask yourself how their exposure can compare to your Tumblr, Twitter, Instagram, Pinterest, Flickr and Facebook pages combined?
And when you do get a decent paying gig, PROTECT YOURSELF. You have the right to negotiate and revise a contract. Do not start a job until you have a contract signed. If they don’t provide you with one, MAKE ONE. And make sure you have your bases covered. You can specify in a contract that maybe two revisions are included in your cost, and if they ask you to revise the piece more than twice, they will have to pay extra. In terms of payment schedule, I usually do the 50/50 Method (50% before, 50% after) or the 3/3/3 Method (1/3 before, 1/3 in the middle, 1/3 after all work has been received). Both of those are pretty standard in the industry, as they guarantee you will get compensated for your time, even if the job goes bad.
Remember you have a skill, and you have spent time honing that skill and you deserve to be adequately paid for that time and effort. You will have clients dismiss you because, honest to God they think, “Well, I could do that if I wanted. Hell, my five year old does it now.” No they can’t, because they didn’t, they don’t, they won’t and they probably never will. And good luck hiring a five year old. They can’t keep a fucking deadline.
And in a last ditch effort they’ll say, “But that drawing only took you an hour!” Son, that drawing took me 20. fucking. years.
10 Dollars for 1 minute of animation. Oh my god my heart. It took my team 6 months and a team of 12 to make a 4 minute short.
I second this book! I’ve had it for several years now, and it’s been a HUGE help in my work as a freelance artist. It gives great advice on what to charge for different areas of art!
Even in my little corner of freelance caricatures I refuse to work for minimum wage rates. Nope. I will time how long it takes to do a certain style and price accordingly to time and quality. If someone asks for extra, I politely require extra compensation.
I don’t charge a whole lot for what I do. Sometimes I’ll offer cheap little promotions. I used to charge super cheap for my art. I used to do $10-$15 commissions. Sometimes $5. I’m finding out with my skill and realizing just what I need to have a fair pay I’ve gradually raised my prices within the $25-$35 range.
Mind you I only do caricatures with a single backdrop. And I’m still finding out I have people commissioning me willing to pay me a lot more.
So please, don’t underestimate your work. Your time. Your talent. Even if you don’t have much freelance work under your belt, your time and work is still valuable.
I used to do photography for an old friend. She’s a musician and she now runs a small business where she would hire me to travel all the way out to Atlanta for a weekend.
And she wouldn’t pay me jack shit. I paid the bus fare. I worked two sessions, went to three different locations to photograph one of her clients. I sat down and did post processing work upwards to a week or two.
And was told ‘experience’ and ‘exposure’ because it was my first time. Then the following times she tried to do that again. And again. And again. Ripping me off. Digging into my pockets. Taking advantage of me.
Nope. NOPE. Don’t let that shit happen either with friends. I’m not saying you can’t be generous and do things for your friends here and there. But don’t sell yourself short.
Because again, your time and work is valuable. And just like anyone else in this world you are doing a service for someone else and that service is not free.
A lovely fuck-ton of animal paw references (per request).
protrait of E.C. Fritz for his birthday
acrylic with some fancy permanent red pigment from florence.
im just super proud of the coloringg and shading on the cheeks. i have so much trouble with over blending everything and it was so hard to leave them but it looks good. though i wish i could steal this back and spend one more day going over this with some oils and glazes and make the hair a bit more detailed. but as is its still one of my best portraits to date.
i dont know if i mentioned my love for finland. hopefully i will be going to grad school here in a few years
I didnt know that my question was answered. the high pitched whine that eminated from my chest while i rolled off the bed likely woke the neighbors. i cant cope.
im danielle, the last question he answered.
you should also check out my HIM art.
happy birthday ville!