Transcript: 8/26/10

TOPIC: How important is an art degree for success in illustration? What is your own background in art?

This chat evolved into one of those community-building conversations Twitter does best: a group of people with a common interest sharing opinions and experiences.
There was no way to extract one or two comments that would sum up, so here's a sampling:

@melindabeavers: "As a freelancer—I don't think anyone cares [if you have an art degree]. They judge by your portfolio and your professionalism.

@angelamatteson: "[I'm] always grateful for college, but learning never stops."

@DiandraMae: "It seems the only way to learn the business is to try to be IN it."

@JohansenNewman: "Art school does not teach you tenacity. But it may begin to toughen your skin if it's too thin."

@WendyMartinArt: "I think traditional draftsmanship is a lost art."

@johnlechner: "Another thing art school can't teach you: how to discover your style. That sometimes takes a lifetime."

@JannieHo: "I had a great time in art school, so I would recommend it. Especially all the connections I've made."

@kellylight: "I'd do art school all over again! As my current self, though . . . not that namby-pamby I used to be."

@drawntobewild: "Art school is definitely wasted on the young!"

Full transcript below—enjoy!

#kidlitart 8-26-10

8/19/10: Guest chat with Elizabeth Dulemba

TOPIC: Author/illustrator Elizabeth O. Dulemba (@dulemba) answers questions about picture book apps.

Note: What follows is a condensed version of the chat, set up in Q&A format: text blocks in bold are questions and comments from various chat participants. Elizabeth's answers are in italics.

Before we start, here's a link to Elizabeth's app:
http://dulemba.com/ActivityPage-Lula.html

Would you like to tell us about how Lula came about?
Like so many, I thought the idea of a PB app was cool! Something about the whole app thing just screamed "Pay attention - this is gonna be big..." But most of my stories were tied up in rights. So I chose a dummy that had won some awards, but never got published. It was short, funny, the drawings were mostly done.

Only clincher, it was a Halloween theme and that was a month away! I got the finals done in two weeks. I was up very late for those two weeks, but it was fun, too. Since the art was so small (4x the iPhone screen size), it flew.

I went with a local developer and did the voice too since there wasn't any time to hire
somebody! (Btw, no eating Indian food or dairy before doing a voice recording. Learned that one the hard way…)

Rhodesoft (Reading Rhino) was my developer. Very smart people. :-)

How did you link up with RhodeSoft?
I was talking to a friend at the Decatur Book Festival about what I wanted to do and she told me about Toni [Rhodes].

Did you license it yourself?
It was actually easier with an unpublished story - no rights issues!

What is the size of the artwork?
Not very big. About 1024x768 pixels - which is the iPad's dimensions thank goodness. I didn't have to redo anything for that!

Did they tell you what size it needed to be to work?

I came up with the 4x thing. For iPad, dulemba: I'd probably work at least 2x. It's still MUCH smaller than normal for me.

Do you know of any vanity or P.O.D E book or App publishers?
I've started gathering resources. You can see at
http://www.dulemba.com/index_techread.html

How many "screen shots" for an average story--or is there an average?
My original dummy for Lula was a standard PB, so it stayed within that range.

How did you get in with the resellers?
Well, the reseller is Apple. And honestly, other than Toni requesting, I have no idea how Lula
ended up in their featured section.

Are you concerned about shrinking artists and writers royalties as we move closer to e books and apps?
I am VERY concerned about the "standards" being quoted for eBooks. I don't think it's right
yet.

What standards are you referring to?
Right now a lot of publishers are contacting their authors asking them to sign "Updated"
contracts promising 25% of eBook royalties.

The only difference between print and e books is the printed book. All the other
expenses are the same right?
Not sure exactly what you mean, but an eBook is quite different in that there's no
warehousing, overhead, etc.

Development and marketing . . .
Development and Marketing are still pretty different. There are some hiccups with eBooks. No
affiliate programs. No ISBN #s - it's hard to connect to them other than with a link to the app on iTunes. Not ideal from a marketing standpoint.


Do you think the same thing will happen to lit as with music: digital is easy to copy/share = less sales?
No, I think lit is more like the movie industry than music. Videos didn't kill theatres - we just
have more options now.

Did you have any upfront costs? Other than your time/materials for art?
That's different with every developer. In the beginning it was an experiment and some were willing to split royalties. Now I think more are charging for the set-up and upload to Apple. So, for me, no upfront cost - just a lot of labor.

So distribution awareness is kind of a problem...
Distribution awareness is THE BIGGEST PROBLEM with apps. It is SO Hard to be found!!! If you aren't featured in the app store, it's very hard for anyone to find your product.

Are you working on other apps?
I'm currently trying to get my rights back on one of my earlier PBs that's just recently gone
OP. It would do well as an app.

What do you think the future of libraries and school visits is with so many ebooks
and apps?
I think our world will look very different 5 yrs from now, but I think/hope libraries will be a part of that. The need for libraries is still too strong. Tech stuff isn't for everybody.

Maybe they will have digital libraries in the future, like netflicks for video rental stores.
I think libraries are starting to put together something like that.

School visits really rely on having that tangible, large amazing book to connect with the kids.
Apps are difficult in crowds, although with projectors, they could do well.

Will you promote your apps or ebooks as you would hard copy books?
Promoting apps is more online obviously. But a bit easier in person with the iPad. Showing
an app on an iPhone was like..."Isn't that nice..." Doesn't work well with a crowd!

Wondering if anyone knows a good program to use to create an app?

Adobe has a walk through for InDesign, but that's for an eBook rather than an App.
http://www.adobe.com/products/indesign/epub/howto/

Any plans to publish Lula's Brew traditionally (print)?
I'd love to pub LULA traditionally! My agent and I are waiting for the app sales #s to get high
enough to knock their socks off.

I love turning real pages but I'm also excited about the interactivity and animation part of it.
The interactivity is amazing. Jack and the Beanstalk kept me busy for an hour. And I'm an adult! (Sort of.) I don't think print will go away. Although I do think paperbacks are truly threatened by eReaders. Makes sense really.

Computers didn't fry our little brains! If anything, I feel like they freed us up! You'll never talk me out of wanting the print book experience. But the apps are fun TOO. I really do think it's like movies. There are some I must see on the big screen, while othersare fine on cable... I DO think apps are an opportunity. And I'm a geek, so I'm very excited by the possibilities.Just don't take my books from me!

I wonder if pubs will start preferring illus who can do print and e? (if art isn't digital already)
I don't think there will be a difference in illustrators doing print vs. e. Although the digital skills
definitely help. It doesn't matter how the art starts out, just what it looks like on the device. So no brush orstylus debate...For books that is. The drawing programs on the iPad are a completely different story!!!

I haven't tried drawing programs on the iPhone yet.

I'd wait a little bit for a good drawing program. SketchPro is good, but the resolution is still low and we need a stylus!

Would love a stylus for the iPad, or it could work like a Cintiq?

That's what I keep hoping for!! I'm betting we'll have a true digital sketch pad in 2-3 years. Yay!

One issue in adapting existing books is screen size. You can't just shrink a picture book without losing clarity/readability. For better or worse, many books won't transfer easily to screen - they'll need new layout/typesetting.
Absolutely! There is adaptation that needs to happen. Room in the art for large text. I zoomed in on most of my images for LULA. The large shapes really do work well. Too much tiny text, itty bitty detailed illustrations... I don't think they work as well.

Sometimes shrinking art can tighten it up. But that doesn't mean that's the best way to present it. It depends on the style. Simple shapes colors would shrink okay; complex details, not so much.

Wouldn't you just scan the art into a file the same way?
You could scan the art like you would for anything. But it's still a different presentation that a book and should be designed.

*Comment from @RhodeSoft: One thing to keep in mind - Apple requires that your app can be viewed both horizontally & vertically.

When changing the orientation, do you just crop from the center out?
Yup - that sounds right.

We just ended up adding black space to the negative areas. Otherwise I would have had to redo the art.

What's legible and readable for a PB is very diff on a tiny screen.
Indeed. I went much larger on my text. I think it was about 18pts for the iPhone.

If all books become e-books they will all have to fit into whatever the device's size is.

It's a good point. Although that's unique to kids books. There are some pretty common standards for adult books.

I think kids will be much more comfortable w/ digital devices than we are & may not be as attached to traditional print.
My 3 and 5-year-old cousins go right past my PB collection and to my iPad these days. They
are really good on it.

What do you think of simple ebooks or pdf's? Do you think creators should stick to more interactive apps?
I think a simple PB presentation works VERY WELL on the iPad. And I've seen kids go for both.

What are benefits of app over ebook?

ePub and Apps are completely different. They don't have the same functionality. So, they
really can't be handled the same way.

I do love technology, I think there's lots of room for both!
I agree - I think there's room for both too. The question is, is there enough income to support both.

I think the $ factor is what's concerning everyone. Where will it stop will determine who's willing to play w/it. I think the worry is that as the price drops, so will the $ to the content creators. Less royalties?
Yes, they're less expensive, but they also can potentially sell in higher numbers. Potentially.
If they can be found. The $$$ thing is a concern, but it's really the same issues as in print. How to be found. How to go viral. the potential is more of the royalty going to the creator - so it could balance out. Cheaper app, but more %.

Kind of like the .99 iTunes?

Yes, exactly like iTunes. Cut out the middle men and more of the profits go to the creators. I hope publishers find a way to adapt to this new tech and still support creators in a fair way.
They have much to contribute.

Bands can actually bypass record companies and offer music free, they're more in control.

But again - how to get found. There are lots of bands figuring it out. We will too. it would be nice if we could avoid the mistakes of other industries. I think it takes smarts, flexibility and... the willingness to JUMP!

When bands do that, more of a connection to fans, more shows, $$ in long run? Could authors/illustrators be the same way?
I think it's already happening. That's why an author's platform has become so important.

It's a brave new world... for the brave. What an interesting time to be a creative.


APP DEVELOPERS ON TWITTER

(Please feel free to add to this list in the comments section.)

@RhodeSoft

@meegenius

@Touchoo

@MobiStories

@StoryPlease

@PicPocketBooks

@OceanhouseMedia

@TumbleBooks

@OkenkoBooks

@RuckusMedia

Full transcript below:

#kidlitart 8-19-10

Transcript: 8/12/10

TOPIC: What's the one how-to book you couldn't live without?

BOOKS & LINKS RECOMMENDED:

How-to/reference

PERSPECTIVE

Perspective for Comic Book Artists: How to Achieve a Professional Look in Your Artwork, by David Chelsea

Perspective, by William F. Powell

Perspective Drawing Handbook, by Joseph D'Amelio

Creative Layout: Perspective for Artists, by Thomas Denmark and Leandro Ng Budiono

BACKGROUNDS

Prepare to Board! Creating Story and Characters for Animated Features and Shorts, by Nancy Beiman

http://animationbackgrounds.blogspot.com/

FIGURE DRAWING/ANATOMY

Drawing People: How to Portray the Clothed Figure, by Barbara Bradley

Figure Drawing For All It's Worth, by Andrew Loomis

People and Poses, by Buddy Scalera

Figure Drawing Without a Model, by Ron Tiner

Creating Characters with Personality: For Film, TV, Animation, Video games and Graphic Novels, by Tom Bancroft

The Illusion of Life: Disney Animation, by Ollie Johnston and Frank Thomas

How to Draw Animals, by Jack Hamm

Drawn to Life: 20 Golden Years of Disney Master Classes: The Walt Stanchfield Lectures Volumes 1 & 2, by Walt Stanchfield and Don Hahn

Dynamic Figure Drawing, by Burne Hogarth

Anatomy books by George Bridgman

GENERAL

Creative Illustration, by Andrew Loomis

How to Draw Comics the Marvel Way, by Stan Lee and John Buscema

Paint Watercolors That Dance With Light, by Elizabeth Kincaid

DeviantArt

TECHNICAL/BUSINESS

Photoshop 7 for Dummies (newer editions available for later editions of Photoshop)

Children's Writer's and Illustrator's Market, 2011 edition now available

Lynda.com (software training online)


PICTURE BOOK ILLUSTRATION/WRITING/STORYTELLING WITH ART

Writing with Pictures: How to Write and Illustrate Children's Books, by Uri Shulevitz

Understanding Comics; Making Comics; Reinventing Comics; series by Scott McCloud

Children's Book Illustration: Step by Step Techniques: A Unique Guide from the Masters, by Jill Bossert

Illustrating Children's Books: Creating Pictures for Publication, by Martin Salisbury

Picture This: How Pictures Work, by Molly Bang

How to Animate Film Cartoons, by Preston Blair

Writing and Illustrating Children's Books for Publication: Two Perspectives, by Berthe Amoss and Eric Suben

Writing Picture Books: A Hands-On Guide from Story Creation to Publication, by Ann Whitford Paul

The Making of Lost and Found by Oliver Jeffers (video)

WORKS OF OTHER ARTISTS

Tim Biskup

Jim Flora

Taschen Books (publisher)

Victor Ambrus

Alphonse Mucha

Inspiration

The War of Art: Break Through the Blocks and Win Your Inner Creative Battles, by Steven Pressfield

Dear Genius: The Letters of Ursula Nordstrom, ed. by Leonard S. Marcus

The Creative Habit: Learn It and Use It For Life, by Twyla Tharp

Art & Fear: Observations on the Perils (and Rewards) of Artmaking, by David Bayles and Ted Orland

Suggestions for Improving as an Artist, by John Clapp (text of class handout)


Full transcript below:


#kidlitart 8-12-10

Transcript: 8/5/10

TOPIC: Spec art: pros and cons?

Consensus:
Spec art is marginally acceptable, and only in special cases:
for a beginning artist, to build a portfolio
character sketches requested from a publisher (never finished art)

Clients will judge your worth by what you charge; clients who get work for nothing don't appreciate the value, and are never satisfied

Licensing is a different case: works differently from publishing in that the product is created first, then sold--so spec work may be the norm.

Red flags to look for when approached by client: "good exposure" and "potentially lucrative"

Crowd-sourcing: a unanimous "no"

Contests in general must be scrutinized carefully; only respond to trusted organizers, such as HOW and Print

WFH: not always bad. Educational publishers work this way; also, art for book covers is usually WFH; there's a difference between WFH and flat fee (artist may not retain copyright under a WFH contract)

Stock illustrations: may or may not offer royalty

Pro bono work is a plus--but be careful of assuming all nonprofits make good clients.
Causes with a good track record for illustrators:
Ripple
Robert's Snow
The Totoro Forest Project

Alternatives to spec work for artists just starting out:
Community projects
Group blogs
Small publishers
Personal web site
Portfolio
Postcard promos

Links:
http://www.no-spec.com/archives/i-wish-i-had-written-this/

http://editorialass.blogspot.com/2010/08/moonrats-rundown-of-publishing-options.html

http://www.youtube.com/watch?v=R2a8TRSgzZY

Books:
Holly DeWolf's Breaking into Freelance Illustration

Graphic Artists Guild Handbook: Pricing and Ethical Guidelines
Comment about PEG: fees listed are slightly higher than the average illustrator can command--perhaps because only most successful artists are willing to share fee history

Tweet(s) of the night:

This topic brought out the the pithy:

@vvjonez: If I don't want to get paid, I might as well work on my own stuff.

and the funny:

@WendyMartinArt: You can die from exposure.

@DiandraMae: I always feel like they're offering a flesh-eating virus to me when they say "you'll get great exposure!"

@WendyMartinArt: In fact, if I expose too much I can be arrested.

@NVCrittenden: Spec art is only okay when your client is an optometrist!

Full transcript below:


#kidlitart 8-5-10

Transcript: 7/29/10

The best way to distill the information shared this week is to let the chat participants speak for themselves. Little has been done except to eliminate RTs and organize a bit. Enjoy!

TOPIC: What are your best tips for single-image story-telling?

Make the world within the image look like it extends beyond the frame of the picture. Like you could walk into it. @KatGirl_Studio

Have two characters interacting, if possible--looking at each other. @BonnieAdamson

Action and dramatic lighting are always a big help. @KatGirl_Studio

Setting needs to have all the paraphernalia for a good story: props. @BonnieAdamson

Make the image narrative a potential-what-if cliffhanger--to segue into the next. @eimhinart

Dynamic poses vs. static make for a far more interesting image. @ElisabethJBell

Think of the setting as a supporting character. @WendyMartinArt

Show diversity, lots of different people. @andibutler

Colours, whether vibrant or a minimal palette, can move an image forward. @ElisabethJBell

There has to be implied action--either something has just happened, or is about to. @BonnieAdamson

Think in comic book terms--dynamic pose, interesting perspective, etc. @vvjonez

Interesting characters are a must! @NVCrittenden

Thinking how a child thinks and putting that into the illustration can make a more appealing and communicative image. @ElisabethJBell

Add detail, but with a focus--not just for its own sake. @BonnieAdamson

Include simultaneous actions in the background, as well. @andibutler

Too much detail can be almost as bad as not enough--you have to direct the eye. @vvjonez

The image should be in the middle of a story, so the viewer can imagine what happens and what will happen. @WendyMartinArt

Dramatic perspective, colors and characters. Plus lots of action or humorous tension. @CERodriguez

As a reader, I want to feel myself drawn in, as if I were the main character. I want info, some details, lots of color. I want to be led to the next scene while wondering what has happened thus far.@peg366

Pick a scene with some emotion to draw the viewer in--happy, sad, etc. @johnlechner

Adding movement in character poses makes an image more interesting. Drives the imagination forward. @ElisabethJBell

TOPIC MORPH: How to choose a single image for promotional mailings.

The best piece is the one you love to create. @andibutler

An image that shows you at your best will make your postcard shine! @NVCrittenden

Storytelling is key for kidlit. Too involved an image doesn't work for greetings. @andibutler

Try postcards as teasers to drive the viewer to the web site "where the real magic is." @andibutler

Thoughts from one AD (Victoria Jamieson)on what makes a compelling promo postcard:
http://victoriajamieson-illustration.blogspot.com/2010/06/get-er-done.html @TracyBishopArt

Make sure your image fits you as a creative, represents who you are. It will show. @ElisabethJBell

What you show is what you'll get hired to do. @andibutler

[If you have multiple styles] I've seen it recommended that a different persona be created for each style (site, name, etc.)--at minimum, multiple portfolios. @DiandraMae

Research the publications of those you're submitting to. @joystewy

Eternal debate: ADs say have one recognizable style. Illustrators always say ignore that! @RedStepchild

Make sure multiple styles fit the same publishers. @DiandraMae

Choose a style that you like that you think would be a good fit for the AD. Check out their sites. See what they like. @ElisabethJBell

Work in the style [you're] good at and happy with--not what [you] think an AD wants. Otherwise [you're] an unhappy creative! @andibutler

You don't want to confuse ADs with too many styles. Pick one as your lead, to get them interested. @johnlechner

That's the struggle: doing what feels true to you vs. what you think ADs want to see. @DiandraMae

Your style, that is you, can be a good fit somewhere. You need to find it. Not be a sqaure peg in a round hole. @andibutler

Ironically, often your strongest work comes when you're not worrying about selling yourself. @johnlechner

You can't worry about the opinion of others . . . @reneekurilla

It's less about confusion, more about [ADs] knowing what to expect in finished art once they hire you. @donnadoesdoodle

Never present something you wouldn't actually want to do. @joystewy

It basically comes down to, would you buy what you are selling? @andibutler

At a recent conference, an AD said she wanted to see: 1) that you can draw: hands, feet, children, interesting perspective; 2) put together a consistent package. Your logo, contact information should be consistent from mailing to mailing. @vvjonez

. . . and that you can show emotion and storytelling. @joystewy

Since the internet, it's harder for a single-image postcard to make an impact. @johnlechner

I've heard arguments for both. Sometimes there is just too much email, so postcards might make a faster impact. @TracyBishopArt

The internet has helped with exposure, but there can be too much of a good thing. It's easier to be fresh in an AD's mind with a postcard hanging on the wall vs. an email in an inbox. @DiandraMae

Many ADs will hold cards they love for years till they can find the "right" project for an artist. @donnadoesdoodle

. . . one more reason to be proactive and go for work in multiple venues. @DiandraMae

Postcards can be a nice change, but ADs are inundated with images online, so it's more competitive. @johnlechner

Postcards are just one more tool, along with websites, blogs, email marketing, etc. The trick is to know when to use your various marketing tools and tailoring it to your recipient. @TracyBishopArt

Heard at every conference: ADs love postcards. @donnadoesdoodle

It pays to do research. Takes time but it pays off. @TracyBishopArt

Reinventing [yourself] is important, too. What worked five years ago doesn't compete today. @andibutler

The internet can have both good and bad effects on developing personal style. You have access to so many brilliant artists 24/7, it can make you feel a little insignificant. @reneekurilla

It is great to see what other artists do, but hard not to compare. @NVCrittenden

It's not always about brilliance--books and licensing are businesses. [There are] fabulous artists that can't meet a deadline. @andibutler

Being professional and pleasant to work with makes all the difference. It's scary for an art director when they first work with a new illustrator, too. Gotta remember that. @TracyBishopArt

Tweet of the night:
@andibutler: "We can do what we set our minds to. Be confident. Try different strategies--go back to an old-school one. The only boundaries are what we set."


Full transcript below:

#kidlitart 7-29-10

Transcript: 7/22/10

TOPIC: What professional associations OTHER than kidlit groups
do you find useful?

Art/design associations mentioned:

AIGA
Graphic Artists Guild
Society of Illustrators
IATSE
Puppeteers of America
local artist societies such as St. Louis Watercolor Society; Chicago Artist's Coalition
peer support groups


Others:
Not-necessarily-kidlit groups on Flikr and LinkedIn
Industry information sites, such as Publishers Marketplace
Illustration Friday
Adult writers' groups

*Though emphatically a kidlit organization, SCBWI got a shout-out for event discounts, volunteer opportunities, networking and support.

Chatters engage in a variety of activities in addition to illustration:
costume/set design
dance
historical reenactment
needlework
parenting (!!!)
occasionally reading books not written for children :-)

Tweet of the night
From @johnlechner, puppeteer: "I think it's good to venture beyond your art form/genre for inspiration."


Full transcript below--enjoy!


#kidlitart 7-22-10

7/15/10: Guest chat with Tara Reed

TOPIC: Licensing your art with @ArtistTaraReed.

Q&A with licensing artist Tara Reed:

What is licensing for? Is it like copyrighting?
Art Licensing is a way of licensing the rights to manufacturers to use your art on products. Sports teams license the rights to manufacturers of products to use the team name/logo, etc. Artists can do the same.

Are you constantly updating your portfolio to follow trends?
Art licensing requires new art all the time. So yes, I add to my portfolio on a regular basis.

Once a week, once a month? How often do you add/change art?
I try to create 1-3 collections a month. Some take longer if they have more to them--the more used a theme, the more I create. So my coffee collection has a lot more than a Halloween cocktail collection--it has more potential in licensing, so gets more time.

How many collections should an artist have before they start promoting?
A good rule of thumb is to have 12+ collections before promoting, to show that you "get" it and are committed to the industry.

What is your advice for children's illustrators?
Creating art for licensing is different than illustrating a book--you have to think about the art and create it a little differently. When doing a book you need to illustrate a story. In licensing you need art pieces to go on products. We think in "collections."

What makes a good collection? What are licensees looking for?
A collection = a minimum of four images--like something you could frame or put on a salad plate. Then adding borders and patterns is always good. Manufacturers can make dishes, wrap borders around gift bags and have the patterns below, create greeting cards, etc. Think about what you see all the time in stores: wine, flowers, baby, beach, holiday . . . they always need new art.

Are there any resources that list the contact and sub info for companies that take submissions for licensing?
If you get a feel for who licenses and see who they work with, you know the company licenses. Or call and ask "do you license art?"

How do you go about putting your name out there as someone interested in licensing art?
To get your name out there, you can exhibit at art licensing trade shows or contact manufacturers directly that license art. There are also agents in the art licensing industry who can help promote artists who don't want to do it themselves.

Is there a site to reach these agents on?
I'm not sure where there is a list of agents, but I will let you know if I find one.

Do you recommend an agent for a licensing newbie?
I recommend agents for artists who really don't want to do the marketing. But you give up control and 50% of the money not to do marketing. It is possible to license your art without an agent--I'm proof. In defense of the 50% take, I spend that much of my time on marketing, contracts, calls, etc., but I feel I'm best at promoting myself.

Tell us a bit about yourself, how you got started.
I've been licensing my art since 2004. Before that, I designed in the scrapbooking industry for a few years.

Do certain styles of art work better than others?
Yes, art that appeals to the masses is more suitable for licensing than abstract or really unusual art. Manufacturers have to make things by the 100s or 1000s, so they need to know that many consumers will spend money on it.

Does it mean that when they buy the art for licensing that they only have the rights to using the art?
Manufacturers "license" art; they don't "buy" it. So they get the rights for a period of time, and only for their products. You maintain copyrights and can license the same art to others for different products. That's how you make money in licensing.

Where do you get your color and trend info?
Pantone.com has trend info, and just watching things: TV, movies, clothing, etc., I just start to notice things. Color is tricky. You want to watch trends but not be defined by them--use what works for you and your art.

Would you share a link to your web site?
I have a site that gives tons of resorces to learn about licensing: http://www.artlicensinginfo.com/
If you want to see my art, it's at http://tarareeddesigns.com/

Do manufacturers typically prefer vector over raster artwork?
It depends on the manufacturer. All my art is hand-painted and in Photoshop, so no vectors. I'm doing ok! But I won't be able to work with companies who want the vector art look and it's not what I'm known for. Providing art in digital format is pretty much a must. Illustrator or Photoshop files are the norm. Layers get you loved!

Is it possible to get established without attending the big licensing shows? I hear they're very expensive.
You can get licensing deals without exhibiting at art shows--it just takes more legwork. They are spendy, but have been worth it for me.

Does selling at print-on-demand (POD) sites like CafePrss or Zazzle hurt or help your chances in licensing?
I don't think it hurts, but if you license the design, I'd pull it down.

Is it ok to show multiple styles or just one consistent type in a licensing portfolio?
There are pluses and minuses to having multiple styles. It's harder to create a recognizable brand if you start all over the map.

Do you think there's a market for kid-centric art? Is it hard for kid's art (that isn't well-known licensed characters) to get used much?
Kid art characters can be tricky because so many parents buy things with the characters the kids watch on TV. But there is opportunity. Greeting cards; fabric, maybe; craft, etc. Go shopping and look at the art on things and not just at what you need to buy. Shopping is a great way to see where you and your art might fit. I call it "shopping research." :-)

I noticed most images are flat color, not much shading. True?
Flat color--more vector art--seems to be trending right now. It will swing back to a more painterly look--and back again.

Are size and resolution of images something to consider carefully when creating collections?
Resolution should be a minumum of 300 dpi. As for size, create larger than you think you need, so you can scale down. There is no magic formula, though. If I know I'm painting for a quilt top, I create larger than if I know it's for a greeting card . . . does that make sense?

Is it advisable to develop characters or just do random pieces of art that look nice?
It depends on your goals. Developing characters is much more time-consuming to develop and sell the idea, in my opinion. [But] companies are looking for the next Julius or Bobby Jack.

What is the window from concept to in-store?
Often 12-18 months between the contract and giving your art to products, shipping and you getting paid in art licensing.

How late can you register to exhibit at Surtex and/or NSS and still get a decent booth?
I know people who registered for Surtex a few weeks ahead--but didn't get prime locations, usually. You just never know.

I think it can be hard to think with a "mass market" mind. It's much different than a more "personal" children's book look.
Yes, you need two art brains: a book brain and a licensing brain.

Aren't you having a telechat soon?
I do calls about art licensing every month--either me or I interview other experts in the industry. Details here: http://ht.ly/2cdpG

I've heard that artwork used to have a longer life in the licensing world and now gets "old" much faster.
Yes! Most contracts are for two years now--and often end and they want new. Customers always want new, so we must provide!

Thanks, Tara--the hour went by too fast!

Full transcript below:



#kidlitart 7-15-10