Monday, 3 October 2011
The best terrible painting (and decision) I've made.
It's been a year.
A year since I left my management job with a dynamic art supply retailer I'd been employed by for 10 years.
Above is a little painting I did the following Monday, my first day as a full-time freelancer. It's kind of a poorly-painted little oil painting I call Freelance Leap, and it represents my excitement and anxiety at leaving a secure job and diving into my illustration and social media work.
I'm still glad I made the change to challenge myself in most ways. But I cannot deny, times have also been much rougher than I ever imagined. It's been the best and worst year ever.
Reading Jesse Bering's piece on Bering in Mind, Half Dead: Men and the "Mid-Life Crisis" has me wondering about which option of Jacques' will happen with my creativity in mid-life (note to self: you're 37 you're already there): will my current state of anxiety propel me to greater heights like Bach? Or will I do a major about-face in my creative style, brining me larger success than before? (The third option, dying somehow, is off the table as far as I'm concerned.)
Good friend and amazing illustrator Eric Orchard shared this piece on G+ yesterday, by Scott Timberg from Salon: The Creative Class is a Lie. It's an engaging piece, covering everything from retail jobs to writers. And it offers a ton of interesting things to think about for illustrators.
Up until now, my business model has been:
1. Make cool artwork, mostly for a niche scientifically-literate audience
2. Put online for people to view for free.
3. Take commissions for originals or prints from people who like it enough to want their own, or have a budget.
It works. It works better than not being online ever did. It works haltingly, in fits and starts, with many months in between. It's not enough to feed my family. How does this whole creative economy do that? Or all we destined to be like rock stars, where only a tiny few ever make it despite the public''s hunger for imagery and illustration?
I outlined in my Symbiartic post, It's Time for Illustrators to Take Back the Net that illustrators supporting each other when faced with image theft online could put the profession back on a path to respectability. Would income follow?
I miss the guy I was when I did that terrible little painting, above. I'm still optimistic I might get to that amusement park in the distance, but my feathers are bedraggled.
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Original artwork on The Flying Trilobite Copyright to Glendon Mellow
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