Wednesday, April 15, 2015
Monday, March 30, 2015
Here is this years chart so far of expenses vs. profits. I do two conventions a year. While the second convention does not have the overhead of production, it does have the overhead of travel and stay. Which is roughly similar to my production costs.
As you can tell, I am hemorrhaging money towards buying the artwork of other people and I am okay with that. Lion King, know what I'm sayin'?
Though at almost 600 dollars alone for a 8x3 table, it's pretty rough to bring in money for me.
If I were smarter I would quit making sketchbooks and stick to prints and commissions, but I like sketchbooks and comics. I like making them and I like buying them. Also, I should probably stick to an artists alley table which is smaller, but less expensive. Conventions the way I'm doing it aren't good for me from a financial view. I would need outside support to make this work for me if this is all I did.
I do ask myself the question if it costs so much why don't I change my behavior and solve the problem or stop doing it all together. The answer is A, I'm pretty busy and prints need to be in color to sell well for most people, and I really dislike doing color work. Then B, conventions are both fun and stressful in a way that helps me grow as a person. The experience has value to me, just not financially. Though financial value would be nice too.
Take away from this what you will. Next time you see an artist you like, buy something from them, cause they probably aren't rolling in it like you'd imagine.
Monday, March 23, 2015
Saturday, March 21, 2015
Hey all! We are gonna be at Emerald City Comicon as The Artists of Sketchwich again this year! Swing by booth 1418 and meet the likes of Doug Williams, Matthew Barrett, Finn Phineas Phinney, Derek Sullivan Illustration, and mystery art friends!
I just got new sketchbooks in and a bunch of swank vinyl stickers. colonthree emoticon As always I draw in every sketchbook and I challenge you to challenge me with weird ideas to draw in yours.
Hope to see you there!
Saturday, February 28, 2015
Monday, February 16, 2015
Spent about 40 minutes on this.
I find that if the forms aren't solid and full of expression at this level of detail then I shouldn't move on. Just keep pushing the big stuff around until it feels right. This is the spirit. Everything later is just attempting not to destroy what is happening here, yet finding a balance with bold choices. Good sculptors are able to plus the model as the detail comes in without ruining the sketch. I feel this dragon. It is looking back at me and I sense a being, a real presence. Now to move on and keep digging to pull out the full character, less art more craft now. It's why polished work is difficult to devote myself to.
And, every thing I create is a relationship. As I sculpt I will begin to fall in love, by the end, love will be replaced by distant fondness and a shame that I could not maintain that feeling. When my work has an audience, and I'm just brim full of apologies and embarrassment, it's because someone is viewing completely yet another failed relationship. I feel awkward looking at other people's art because I fall back on this assumption that everyone feels the same way I do, which I know is not true. Art is a different experience for each person doing it.
Art is hard work and messed up feels and it is addicting as hell and I love it every day.
And yet this is just another dragon in a long line of forgotten creatures.