As more or less experienced artists and knowing what you know

>>3090852
i would have focused on being expressive and using design well. i think with some more experience that it's actually way easier to start with the abstract elements of a picture and then work out how to do the formal stuff then it is to start with a sort of diagrammatic figure and try and make to stretch and bend it into some appealing.

although i think some people have like a natural primacy of design, so like they're always trying to make good pictures, even when they're practicing technical stuff, so they can probably skip focusing on design first, but i shouldn't have

>>3090852
I would work on refining my sight size measuring through rigourouse studies. Aswell as sketch a ton from life, pictures and imagination to expand my visuall library.

Thumbnailing more. Composition is important

>>3090857
and try to stretch and bend it into something appealing**

my brain

To read loomis.

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>>3090852
DELETE THIS PICTURE FROM THIS FUCKING WEBSITE RIGHT NOW

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I wouldn't have learned construction from Christopher Hart that's for sure.

Probably would go straight to Loomis, also abuse being a free loader at my parents house to make art gains.

>>3090985
Are you making art gains now? How much??

I wouldn't have posted anything on the internet until I was able to do something decent

>>3090852
do much more grinding and intelligent studying instead of just figuring stuff on my own without any guidance.
I lost like 10 years because of that.
but I guess discipline and this kind of experience can be achieved only by growing up. in general kids are just too volatile to be able to be good artists.

Bump for interest

B

>>3090852
your attitude. nothing gets you farther than a good attitude.

I would have abandoned lead pencil way earlier, charcoal and chalk are superior. Also, I would've worked with watercolors from day 1.

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>>3090852
I was just thinking of something like this today. In regards to a freelance illustration career:
>Which ones would be the first things you would do
+Focus on my strengths and niche down my style. Specialize in one thing as much as you can, and do it well. This style is what you're trying to sell.
+Trim the fat from my portfolio page. Somethings may be well done, but they might detract from the overall direction I want my career to go
+Research work that is similar to what you want to do. Incorporate stylistic elements from a variety of influences to create your own, unique style.
+Start a list of potential clients that you would like to work with. Everytime you see some work that is similar to what you want to do, jot down who it was made for, and later research the art director's name & contact info. Start organizing these people into a list.
+ Practice reaching out to potential clients and selling your services as an illustrator. It is a skill that needs to be learned and practiced.
+ Open another personal checking account. It's very easy to do, and keep all business related expenses and incomes within that account. Once a month, pay yourself from that account to your main one. It's very easy to set up and can make things a TON easier.

>Which ones would be the first things you would not do
- Don't hold a social media following as such a high priority. It's not as important as it seems. Time spent on growing a social media page is much better used as time spent directly promoting your work to art directors.
- Don't ignore small, boring jobs. Don't ignore local businesses. Don't ignore online job boards (like Upwork). They can all be great sources for a significant amount of your income. Diversify your revenue stream.
- When promoting your work to an art director (or similar decision maker), do NOT give up after the first point of contact. If you don't hear back from them, continue improving your portfolio and try again with new work.
-

>>3094906
>- When promoting your work to an art director (or similar decision maker), do NOT give up after the first point of contact. If you don't hear back from them, continue improving your portfolio and try again with new work.

This is a really important point. I started asking art directors how to improve when I started out, and most of them took a couple minutes to give advice. The best was this: "Look, your portfolio is solid, but doesn't match anything on my desk at the moment. But a job could come in next week that matches you perfectly, and now I'm aware of you. Getting my attention is the best thing - and keeping in touch. Send me samples of new work a couple times a year. I have a lot of artists in my address book - remind me you're there."

It's true. I learned that later, when I took art direction jobs myself. The people I hired are the ones I was aware of.