Talking about juggling freelance projects with a day job and the amount of time it took for me to get momentum as a comic writer. These creative careers are a marathon, not a sprint.
Watch and share:
Crucial parts of my career, whether I realized it at the time or not, came about thanks to amazing people around me.
Friends and mentors who taught me a lot and encouraged me at key moments.
If my comic 'career' started with making a comic and releasing it, I've been doing this for literally 20 years.
I was working on pages for my webcomic Makeshift Miracle and hand-coding parts of the website in August 2001.
20 years of making comics, freelance art, project managing, teaching, writing, and trying to figure it all out...
Highs and lows, successes and setbacks aplenty.
All you can do is-
Make stuff
Finish it
Release it
Learn from it
Repeat
and see what happens.
Here's an important point-
Generating your own momentum/work is crucial early on as you build up experience and a portfolio.
No one is going to pay you to do a thing until you show that you can do it at a level that's worth paying for.
Getting motivated to start and carrying through that momentum into finishing is tough!
When no one is watching and no one seems to care, it can be difficult to carve out that time and see it through.
If you do start getting work, it's easier to keep momentum. There are expectations and deadlines, budgets and support systems to ensure stuff gets done.
Work-For-Hire projects have their own challenges, of course, but structure helps a lot.
Self-generated work is harder.
The timeline I go through in the video is comics and writing focused, so it doesn't include animation and illustration freelance work, dozens of projects I managed and conventions I worked at with the Udon crew, or pitches and proposals that crashed and burned.
It's been a lot.
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Going to BBQ this afternoon, so I'm pulling together fresh potato salad this morning. So much better than pre-made and really easy.
- Boil a batch of potatoes for 20 min.
Waxy/harder potatoes like red ones work better than russets or others you'd use for baked/mashed potatoes.
- Include an egg or two with the potatoes and boil them at the same time, but take the eggs out after the first 10 min.
- Cut the potatoes into chunks to cool, adding a bit of salt, pepper and other spices to season them. If you have malt vinegar, a dash or three here is great.
This is where you can customise the heck out of it to your taste-
How big the chunks are.
Whether you include the potato skins or not.
How much mayo you use.
All variable.
For me egg, cucumber, and dill is a must. You can add red onion, pickles, even cubed up cheddar cheese.
A quick drawing lesson for artists who struggle with street scenes/buildings-
I was giving feedback on a student layout and realized the advice here could help other people too.
Here's the construction build.
The perspective is consistent, which is a great first step.
The perspective is working, but there's a common proportion problem.
To check and adjust, we need to find the eye line used to build the scene. Follow back the perspective lines and there it is. Straight forward.
From here I add a scale figure. Sometimes I'll draw one in, but when I'm doing a lot of critiques I use an architectural figure silhouette like this instead.
I size the figure to fit on the bench and will use that to measure everything else in the scene. So far so good.
While working in animation I started doing some freelance illustration for indy RPGs.
Soon after, I joined the Udon studio and started doing illustrations for Dungeon Magazine (when it was at Paizo), Exalted and a bunch of other RPG books.
That led to networking at conventions like Origins and Gen Con, which turned into more art gigs for RPGs.
Udon wanted to expand their comic publishing and we had a great relationship with White Wolf, so that turned into developing and co-writing an Exalted comic mini-series.