Wednesday, April 09, 2008

Entering Illustration

Entering Illustration

Advice from A Journeyman

For a while now, I've fielded emails from folks looking to enter illustration as a career. And for that same while, I've been replying with an almost uniform compendium of tips, thinking to myself it'd probably more efficient to just write a post instead of having to type the same answers over and over. But I always held back, the chief reason for it being that I never really felt qualified enough to give such advice in as public a forum as this site.

These days, I still don't feel super-qualified, but I have made a great deal of progress since those first anxious months of 2004. And as I get older, and more established, chances are I'll forget how it was at the start, and forget the important points that can really help a beginner. So I figured it was time to at least write something.

With that in mind, I'd like to share some lessons I've learned about entering the field of illustration:

There Is No True Path

The first thing to get straight is that every illustrator is going to have a different path to success. Ninety-percent of illustration work out there is freelance work, and you make a living in freelancing by keeping your eye out for good opportunities, and pouncing on them. So don't worry about doing things "right" — the only things you can do wrong is curling up into a ball and whimpering when the path forks.

Protect Your Love

Not everything you draw should become public. You need to preserve your love for drawing — there needs to be art you do for fun. Find a balance between what you create knowing someone will see it, and what you create for yourself.

Don't Give Up

Many would-be illustrators seem to quit illustration after a subtle war of attrition, where tiny roadblock after tiny roadblock wears down their passion to make a living by the pen or paint, until finally they give up. I've gone through some very lean times as well, and I certainly understand the feeling. But I truly believe that anyone can make a living if they just keep at it long enough. If you can draw, chances are there's someone out there who will pay you to do it — you just need to keep trying to find them.

Give Yourself Time

I'm a strong believer that instant and overnight success are absolute poison. Don't look for the big job that will instantly launch you into the center ring; you'll often find you might not have the experience you need to keep you there. When starting out, look for small, short jobs that you're confident you can handle, and build your career slowly and patiently.

Have A Goal

When I left my old job to try my hand at illustration, I set two relatively achievable goals — make a living doing something I love, and earn enough to support both Kim and I within five years. I'm three years in now, and while Kim can't quit her job just yet, we can at least split the house bills. Every job I have is measured against those end goals to help keep me focused — if a job won't meet both criteria, I don't take it.

Understand What You Have To Offer

Try your hardest not to underestimate the value of what you do. The ability to illustrate is a skill, a skill some have and some don't. That means you have something you can market. It's especially important to remember that when starting out, because the public in general perceives illustration as a cheap commodity. Remember, when you take a job for a mere pittance, it hurts the illustration community at large; that means there's one more client out there with the wrong expectations on price.

Understand Copyright

This is a tough subject to address with any brevity, but a basic fact you should know is that everything you create you own; a client pays you not only to create the art, but then on top of that they're paying you for rights to use that art. Some clients want to buy the copyright to that art outright (at a standard cost of 200-300% the price of production), or just pay for certain small rights — for instance, the right to use that painting on a website for a year (I'd say... 15-25% the cost of production, but this varies in negotiating). Writing up a contract and not specifying what a client can use the work for is irresponsible. The Graphic Artists Guild Handbook: Pricing & Ethical Guidelines is a helpful resource for industry standards. I also found that it was useful to see how much rights-managed artwork on stock photo sites would charge, and use that to help you judge an accurate percentage. Oh — and just so you know, purchase of the original artwork on a client job is negotiated separately as well (usually at 100-200% the cost of production).

Be Fair In Business

Business should not be a cutthroat endeavor, where you're always looking for an upper-hand. Negotiate with clients; understand what they want, and help them understand what you can give, and find a price you're both happy with. Your talent might bring in first time clients, but your integrity, honesty, and responsibility is what will bring them back.

Protect Your Liberty

I didn't get into illustration to rock the world. I don't want to win awards, and I don't want to be a millionaire. I just want to draw for a living. Not being seduced by high-paying or high-profile work allows me to turn down jobs, and do the work that makes me happy. Whether or not that can work for you only you can judge; but if you want to draw for a living because you love to draw, that's what's worked for me.

Hedge Your Bets

It can be difficult starting out to earn money and pay the bills. If you plan to go into illustration, there's three ways you can provide for your future when times are tight: have a nest egg in place, have a supportive working spouse or parent, or have a part-time job. With luck, you'll eventually carve out a place in illustration, and be able to support yourself. Starting out is hard — jobs are few and far between — but if you weather the lean times, opportunities will come.

Find Your Market

There's numerous markets for illustration. Some people want to do children's books. Some people want to do greeting cards. Investigate the different markets you could work in, find the one for you, and concentrate on getting work there. Just don't be too picky at the start. A job is a job when you're trying to make a living.

Have A Portfolio, And Maintain it

This should go without saying. No matter how good you are, no one can hire you if they can't see your work. And remember, not everything you've ever done goes in your portfolio; a portfolio should reflect the kind of work you want to do, the best work you do. If you're unsure if something should go in your portfolio, then it doesn't belong there.

Build A Reputation, Not A Network

While friends and former clients may have the capacity to push jobs your way, you need to earn that recommendation. If you're honest in business, and if you do good quality work, the people you've worked with in the past won't hesitate to give out your name. And then you'll have a network.

You Will Get Screwed

Accept it — there will be times where you get screwed. It's inevitable. One day, you may look back and think — damn, I should have charged more, or damn, I shouldn't have sold off those rights. Or perhaps even... damn, this guy hasn't paid me and I can't find him, or damn, these guys are using my art without permission and without paying me. You will get screwed. But don't let the fear of that keep you from trying. Every time you make a mistake, you learn something. And it would be impossible to make a right decision every time, especially starting out, and being unfamiliar in the industry. But you CAN minimize the degree of screwing by taking a few precautions from the start:

Try and find as much information as you can on trade practices, industry standards on pricing, and charging for copyright. Again, I recommend the GAG guide, with the caveat that it's not a magic book that you open and you immediately have your answer; I often have to use its numbers as a starting point, and have to come up with my own figures (which mostly has to do with the fact that illustrating for the web is still a relatively new market). And there's plenty of other literature out there, I'm sure (recommendations welcome, my fellow illustrators). And while I haven't been in contact with any Graphic Artist Guild members, I have spoken to a couple people who've contacted them and gotten some helpful advice.
Always, always, always work with a contract. A good starter contract comes with the GAG guide. If you just can't interpret the legalese, write up something yourself that dictates in plain language what the client is asking you to do: what it is you're supposed to illustrate, how much they've agreed to pay you, how many rounds of revisions they're allowed to have, when the job starts and stops, and when you're supposed to receive payment.
Try and get deposit from a client (either a half or a third of the final fee) up front. When a prospective client is willing to plunk down actual funds to get the project started, you know they're committed to the job just as much as you are.
When starting out, and not completely sure of how much you can deliver, it's best to play it safe and take small jobs that don't overwhelm you. And make sure there's plenty of room in the schedule to protect you from accidents and mistakes when creating your piece (my biggest problem with early jobs was getting to the end and hating what I did, and needing to start over — luckily, I always had time to do that).

I know. Getting screwed is still a dreadful thought; but even the smallest peon in a huge company is just as susceptible to a swift kick in the weekend plans. And I'll tell you, one of my major motivations in leaving the agency world was that if I was going to have to fix a fuck-up, I'd rather it was my fuck-up from now on.

Experience Is Your Best Asset

There is no substitute for experience. A thousand tiny little lessons in business, drawing, and administration can't be taught or downloaded. You may want to conduct yourself like someone who's been working for five years, but you can't. What you can do is put yourself on the right road right now, and consciously try to avoid delaying things because you think you're not ready.

Ask For Help

One of my biggest struggles starting out was finding other illustrators who could share their wisdom. Part of this has to do with me coming out of a web design background, with absolutely no illustration contacts. But here and there I contacted a couple names whose work I appreciated. And while (sad to say), the majority of them didn't reply, the few people who I did get to talk to really help alleviate a lot of the burdensome doubts I had when started out. I encourage you to ask for help and advice when you need it.

Give Help

Like I said, I didn't get a lot of support from a majority of other illustrators starting out. Consequently, I've tried particularly hard to answer anyone who's written me with questions. I'd advise anyone else starting out to do the same, when they have a chance. And if you're balking because you don't feel qualified enough to answer, even that is a good enough reply for someone just starting out.

Do what I say...

So there's some of the lessons I've learned since starting down the long road of illustration. I can't say I always practice what I preach. I'm certainly guilty of underquoting for a job, and I definitely did (and still do) my fair share of curling into a ball and whimpering. But they're still practices I try to adhere to, ones I truly believe have helped me through these years. I certainly hope they can help you.

Additional Notes

Regarding hourly rates versus flat rates, Niff makes a great point in the comments. As an illustrator, it's in your best interest to quote flat rates. It will be easier for you to quote the cost of selling copyright, since that's usually done as a percentage of the final production cost, and it also keeps you from penalizing yourself for working efficiently.

Comments on this Article

There are currently 61 comments.

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Admittedly, I've been that guy that's written you an email or two asking ridiculous questions over the last couple of years. You answered each as if you were honored to help. Many Thanks!

Thanks for this post, too. A priceless kick in the tail to do it right and not give up on doing something that I love to do.


Haha - thanks Preston. And it sounds cliche, but no question is ridiculous. Except that one you asked about what color illustration garters I wear.


and boy am I sorry I asked that question...WOW. Who would have guessed?


Kevin an you draw me something? I can't pay you, but your will be shown on my site and I'll credit you and everything. Then when people come by I'll tell em you drew it and you'll be famous and stuff thereby getting more work.

p.s. If I ever have to go back to freelance I'll probably slit my wrists. I'm WEAK.

Terry Tolleson

I simply love the illustration accompanying this article. Very appropriate.

Luckily, I am not an illustrator, nor will I likely ever strive to be; so… I'll read this article later.

Oh... are you back?


Kevin, thanks for this. I'm sure you're helping more folks than you realize.


I am SO guilty of working without contracts and rights agreements. Ugh. Shame on me.


Bandy - Hey, you're one of the slim percentage of people who found a full-time job illustrating. You're a folk hero as far as I'm concerned!

Terry - SOO close. But I can't commit to every week yet. This article has been a long time coming, so it was worth breaking the silence again.

Jason - Thanks, Jason! Here's hoping it does help :D

Anton - But do you get a deposit? That's almost as good a sign of faith as a contract... actually, I should add that to the article. Done!

The Colonel

Great article, Kevin.

This advice, sans specifics, seems to be applicable in most any career situation.

For instance, when I went into the orphan racketeering marking, I never thought I'd make it. Lo and behold, after years of hard work and a never-say-die attitude, I'm finally making a living.

Hey, orphans just don't sell themselves anymore.


So true!

Oh, and I need another orphan. My old one broke.

The Colonel

No problema. Looks like your old orphan was still under warranty.

We'll get you a new one in the mail today, just be sure to send back your old one so we can recycle him.


Nice article!
I must admit, that I too am a failed illustrator (we should start a support group). However, I have become a fairly successful freelance web designer, and I wanted to you to know that I think the advice you’ve given is really sound. Especially the part about always taking some time to just draw for yourself. I still draw, I still love it, and it keeps me happy.


A very generous post sir and I think not only applicable to the world of illustration. In particular the lesson of applying value to our gifts and skills. So very easy not to.

Anton 2.0

This is a very good, informative post. I work as an independent video producer but these points mirror my experience exactly. I wish I would have read this post a year ago before I made a lot of mistakes and got majorly screwed, but I'm taking these notes to heart now.

The Philanthropist

Jeez, what a great article. Well worth the wait. Your willingness to provide such honest and valuable info for the freelance curious is rare,... rare in most any field really.


Gerren - Excellent to hear! That actually was something I didn't discover until about a year ago, but I'm glad I did :)

BigA - It took me probably 1-2 years before I started to comfortably gauge how much I should charge for certain jobs. It's one of those things that you need to have A LOT of jobs before you find the sweet spot. Unless you have someone to help you, I guess.

Anton 2.0 - Excellent to hear that the points correspond across industries! Thanks!

Philanthropist - Haha - well, willingness to provide it in non-book purchase form perhaps :)

glindon marten

What a great post. Kevin, I think you should get paid for more than just illustrations... this article should be on A List Apart as well.
Even though I'm not specifically an illustrator, most of the thoughts in this article are analogous to my carrer as a graphic designer. Thank you!


Long-time reader, first time commentator (unless I commented at some point in history and have forgotten).

I gotta say, articles like this, written from the trenches, are always a pleasure to read--and they're not often as well written as this.

I'm one of the few design guys to start off as a freelancer (my personal expenses, fortunately, are relatively small and easy to keep up with, so it's perfectly feasible to build my reputation and career instead of working for an agency), and so I'm always, always looking for sound advice from related fields.

Who knows, maybe I'll get into illustration one day. I've a friend who's looking to be an illustrator once she's done with school, and I've pointed her to this article.

Anyway--the point of this long-winded reply: thanks for the article! Definitely motivational to read. Your blog has been funny and inspirational for years, and you finally kicked me out of lurking mode.


Your caution about being careful not to be seduced with the instant success is sage. I'm going to share this article with some starting-out author friends. Much of what you share is true for people who's art is the written word as well.


Thanks for a great article, always nice to read people actually make a living doing this being in the roadblock stage myself.


As so many people have already said, this article is incredibly invaluable for most any creative field. I just came back from having dinner with a few friends today and they were talking about wanting to pursue fashion design and never believing in themselves that it would happen, and feeling like they'll never make money from it anyhow. I almost feel like everything that was advised here is or should be shared with people like them as well.

I'm taking this advice to heart. As a graphic/web designer aspiring to become bigger and better, I definitely will keep these pointers in mind. Thank you, Kevin! :)


Combine this article with that 'Staying Motivated' drivle you previously wrote and add some stuff about avoiding Tax Returns and a few of your crappy doodles and cobble it all together with paper and staples and you'll have a nice little guide to the heart devouring world of freelance business.

Maybe call it 'The Independent Scaredy Cat'.


Great point, Bonehead - thanks! When going into illustration, it's important to pay your taxes every year. And remember that freelancing isn't for everyone — some people can do it, some can't. And a small percentage of them apparently get so frustrated by it that they have to lash out.


Hi Kev! Great article! You should add in there that people really need to stop charging HOURLY for illustration. It screws the illustrators that do it correctly and it is SO Much easier if the client would give up the hourly thing.
We are not the same as graphic designers- and I hope one day all art directors (especially web- who don't deal with illustrators as much) will get that!


Excellent point, Niffernaut! I have added it to the article ;)


Kevin, Thanks so much for this timely article. Having been in the web design field for over 10years now, I too have decided it's time to do something I love, which for me is Illustration as well.

Long story short, I did Illustration for a few years before heading to the web, and have missed it since. I have been searching the web the past few months for just such an article.

Thanks again.

Nantucket Art Blog

Thanks for the article and great looking site. I'd like to see a 'subscribe by email' option please :) !!


Sorry Nantucket — I don't have a mailing list. But you can always subscribe to the RSS feed :D


Great article! As many have said, it's very appropriate for many fields.

Having bounced in and out of freelancing (graphic and web design)--the full support of one's spouse/significant other can't be emphasized enough as household finances and duties become a very important conversation piece at all hours of the day when it's lean in the beginning.

Having offspring around one's ankles often amplifies said companion's concerns greatly.


Hello again :) i just wanted to say I'm going to put a copy of this post up in my space at uni so i'm always reminded of the help I can get. So glad you wrote this it's already made me more confident (& motivated) :D xx

Varick Rosete

Hey Kevin! This is great! Thanks for the post!


This is a well designed and thoughtful website. Very inspiring in itself! Thanks so much for the reassuring words and practical advice.


Great post, Kevin...

Kevin touched a little on self-esteem and networking, but let me take that a bit farther:

YOU yourself are just as important as your illustration skills. People want to work with someone that they like and understand, who meets their qualifications as a "friend" as much as a "contractor."

The easiest way to do this is to 1) Be yourself and bare your strengths and weaknesses, and 2) Be as professional as possible. If you can make a personal connection with someone AND get good work done, on time, you'll get called back again and again and referred all over the place. If you have no self-esteem and you're too shy to stick up for yourself, or If you're stuck-up prat and hard to get in touch with, even if your work is fantastic and on time, people aren't going to call you back. It's a careful balance, it almost requires a split personality sometimes, but if you can find a good mix of humility and assertiveness, you'll be just fine.

You can't (and certainly shouldn't) fake your personality, but you can dig deep within yourself to find your professional "voice," and build that personality on the web and in the professional environment. If you look at sites like Kevin's, or Aaron Draplin's, or Jason SantaMaria's, they certainly have a very clear personality, which is definitely a reflection (though perhaps a bit of a caricature) of their proprietors'. Sure, there are nuances you'll never catch unless you get to know them in person, but clients can look at the sites and get a real feel for the person, and decide if they'll make a good fit or not. Here at Coudal, we've learned that if someone doesn't "get" us from looking around our site, they're probably not going to be a great fit as a client. Some people call it a "luxury" being able to choose your clients, but it's like dating. You could force yourself to be someone you're not to please a girl, or you can be yourself and find someone that enjoys being with you as much as you enjoy being with them. Sure, at first you may have to take work you don't love to pay the bills, but if your professional personality is well-developed, it will lead you to the work you want to do, over time.


Excellent contribution, Bryan - Thanks!

Dave Tabler

Thoughtful points clearly delivered! For someone who's only been wresting with these issues for five years you show a depth of insight far beyond your calendar age.

Todd R

Great stuff. Most of this post is good for anyone wanting to start their own business. I will be sending this to a few of my friends. Thank you for taking the time to put your thoughts down. They are encouraging.

Ron Domingue

Thanks Kevin for the article as an illustrator myself I’ve made just about all the mistakes you mentioned but I continue to learn and grow from reading other people’s misadventures and experiences.


Hi Kevin. Great article - I'll add my voice to the chorus. Thanks! I'll share this with my mates as we're soon to graduate as illustrators in 2 months time.. yikes. Thanks for all the hilarious comics, can't wait for the next Mojo adventure (no pressure).

Hmm.... Mojo as a freelance illustrator....


i'm not fully into illustration but somehow this post was meant for me. tyvm my friend.

RC Pop Art

I didn't get a chance to read all of the responses, but I'm a freelance illustrator as well as a graphic and web designer. 2 major things that have allowed me to work for myself and be were I am are:

1. A creative agency that finds work for me and "pimps me out" to prospective clients. They do all the work and the percentage they receive back is well worth the constant work I receive. For example, one of my agencies is This is not a shameless plug, some of you might enquire to get an interview from them. Once the get you established with a number of high end advertising agencies, you can then move away from them if you like. It's a great starting off point. Just make sure your portfolio is professional and ready for the interview process.

2. Being versatile. It helps A LOT during those lean times of not getting illustrative work if you can do other creative things like web design and print work. Evenutally, after awhile you will hopefully be able to move more and more towards your goal of just drawing and painting for a living. Wouldn't that be great!

artful ninja

Great artical .
Seriously this helped me out alot .

I especially agree with the part about taking small jobs at first & slowly building yourself up .

I'll link you sometime .


I'm afraid to say this is the first I've stumbled upon your site, but I'm ever-so glad that I did. Your advice is eye-opening and to hear that you went from web-design to illustration gives me hope! I just want to thank you for putting this out on the table and allowing hopefuls, like myself, to hear it from an "insider's" perspective!


Glad to help!


Thankyou for a positive regard with illustration. You certainly cheered me up. I have started freelancing again after a divorce and loosing my other job i did because the ex wanted me to earn a good living. I am finding it very difficult and to be honest Im begining to believe my work might be crap and/or im just being ignored because they dont like the look of me, i really feel as if im invisible .


Yeah - i've definitely felt the same way sometimes. I think that's the sort of situation where it's really important to be creating something that you yourself like; satisfy yourself, and even if the audience isn't there, the time and heart you put into the work is worth it.


I never leave comments or posts for anything, but I had to say thank you.

I am just starting out trying to find work as an illustrator and I'm only doing it now because I had to change my life. I have been dreaming of drawing professionally for so long but every time I read an article supposedly giving advice I would be completely intimidated. I didn't have a proper portfolio as I only discovered that I could draw 3 years ago (at the age of 28) when I had 2 kids and 2 on the way. And all the "advice" given just made me feel amateur and childish to believe I stood a chance with my dozen portraits and odd and ends that I'd drawn for friends and family. And maybe I don't stand a chance, but your article didn't make me feel like becoming an illustrator is limited to some uber species that us mere humans can only gaze at in wonder, shielding our eyes under the glare of their talent.

I have sent out a lot of samples and received some very positive feedback but I still avoid reading too much advice because it usually makes me want to give up and stop playing at being a grown up artist. Your article however gave me practical advice that wasn't condescending or arrogant. I am still sceptical and under no illusion that I will be the next Quentin Blake but at least I'm giving it a shot. You gave me hope - Thank you

Awww I feel all warm and cuddly now


I have to say, this article has made my final decision about becoming an illustrator. I'm 22, already with Fine art and art history degree under my belt and now wanting to really do something useful with my skills. I was unsure whether illustration would be right as a career but after reading this, you have given me hope that I can do this, and nothing will get in my way! I have to say the main thing that scares me is not earning enough money to just live... to be honest I still cannot get m head around the fact that jobs are far and few between and being able to pay for life in general. Woul dyou suggest always having a part time job in the first few years of establishing yourself?

YOu are wonderful! Perfect website and wonderful advice!


Hi Roberta,

Glad to be of some service! As for having a part time job, I think it's probably essential unless you have that nest egg, or parental/spousal support. A teacher of mine once advised working jobs that you could quit at the drop of the hat if an illustration job came in, but I like to think you could get a satisfactory job that you wouldn't HAVE to quit, and just manage your time and schedule for illustrations around the job schedule.

The hard part isn't even the part-time job... it's getting the motivation to do the illustration in the free time. But if you want to be an illustrator full-time someday, that may be the only route.


Greetings Kevin,
Im a 6 time award winning artist who works in charcoal and I want so badly to find that career in doing what I love , whether it is putting my works on cards or illustrations on childrens books (my cute works not my dark surrealism) Your article is fantanstic.It answered some of my questions regarding getting my works out there and getting paid for them. I usually sell prints of my works and rarely sell any originals due to the amount I charge for them at various art shows.I want you to look at my works on my, and let me know if I should go this route with my originality? or stick to the shows Im used to?I would hate to part with my works and not get paid the amount that they are recognized for.
Thanks again for your wonderfully helpful article.


I can, I will thanks to the great words I've just read.....THANK YOU!


Kevin, thank you so much for this article! I see I'm a little late to the party, but I am now trying to get lifted off just as you were. Thankfully I already have a good name in my fairly narrow genre which I am capitalizing on, but you are so right about keeping your horizons broad. I started out just drawing and rendering cars as I am a car designer by trade, but I was asked to draw animals by so many people that that is starting to take over. I have even taken commissions for military history subjects just from getting to talk to different people and being willing to take up a challenge. I am also fostering some ideas for children's books so I'll need to find a publisher for that too.

Sadly I have been screwed over enough in previous lives to not let it happen, but that can leave you feeling paralyzed over the "should I, shouldn't I"'s. I am pleased that my instincts wrt copy write are pretty close to what you have said (thank you for the useful reference too!), It's good to see the structure of what we sell laid out so clearly and what each part is worth... I knew I wasn't just being an awkward bugger! My commissions tend to be private at the moment but I it's good to know what's what should something commercial crop up.

Thank you for the pointers and keep up the good work!



I've spent a while searching the internet for honest advice and realities about illustration, and all I can say to this is one is thank you! This has given me more of an insight that I've managed to get in the last few weeks! Thank you!


Thank you for you advice, I have been doing art for a while now but have only recently decided to move to the illustration realm. It all feels so foreign to me as I literally have no illustration contacts, so putting myself out there is like throwing myself into the dark. I'll bookmark your advice for sure to cradle me through the darkness!


I am a student and in desperate want of wanting to switch my major to illustration. What you said was very helpful and inspiring. Thanks!


Hi Kevin,

Thanks mate, for such a delight of a read. it really seems like theres an illustrators secret society when you first start out. The jobs seem so rare. I'm working on the portfolio part right now. I was wondering, when Im done, would you give it a look see and give your opinion on it? I'll give you mine of yours, if you'd like, haha.

Thanks man :)


Whenever you're comfortable with it, send it my way Tanith. And yes, it does feel like there's some kind of secret society sometimes. Especially when they kidnap you and unmask you at a castle orgy.


Thanks for writing this back in 2008; it's still helpful & encouraging. Enjoying the work I see on your Twitter page and look forward to seeing other illustrations, Kevin. Hope the castle orgy wasn't too bad. Take care.


patent law." mediæval Europe, I have treated and of their institutions and its you designed to entertain me with something surprising and


This read is like a push for me to believe that there is a way to break into illustration. I'm an interior designer and to be honest, I don't think I love it as much as I thought I would. Throughout my degree I tried to convince myself that I would like it enough but truth comes out eventually and here I am now. I want to draw and really try the waters with my pen work. I'm still inconsistent in style which I see as a major problem in marketing myself but I am determined to make it.


This read is like a push for me to believe that there is a way to break into illustration. I'm an interior designer and to be honest, I don't think I love it as much as I thought I would. Throughout my degree I tried to convince myself that I would like it enough but truth comes out eventually and here I am now. I want to draw and really try the waters with my pen work. I'm still inconsistent in style which I see as a major problem in marketing myself but I am determined to make it.


I found that very interesting !!Great read my friend ...I've loved drawing ever since I can remember...would love to do it for a living 4o years old I can't help thinking I've left it to Late though!

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