#for a few valid reasons but also I was then very ill for uhhh almost exactly 3 years

[astronicht]

I love going home sick thinking “ah man it’s not nearly as bad as some stuff I’ve worked thru but that’s why I can let myself take an afternoon off… fuck it u know?? I have a lot to do at home” and then I get home and discover that wait no actually you have acquired a new ulcer.

[legionofpotatoes]

I love your art, it is very detailed in a neat way. Was wondering how you got started making it as a source of income? How did you get your first paid work, I'd love some advice on how to get started, if that's ok

Thank you. Of course it's okay, although I doubt I have enough work experience in art to really delve into this. I only went full freelance this year, and had been juggling art as a side hobby until then. If you're still interested in my somewhat narrow perspective, and are okay with my long-winded rambles, I'll give it a shot:

So to answer your question fully, I'll describe how I started and move into personal advice and learnings later on. As a disclaimer, I am a white cishet dude in my late twenties with a moderate cocktail of mental illnesses, but overall I can pass for a functioning adult so a lot I have to say may come laced with privilege I cannot fully identify.

So uhh I began drawing in around 2012? I think? Maybe halfway through 2011? And I mostly made fanart for things I enjoyed and tried to branch out in communities that felt nourishing to my style and interests (I caught a bug for alt posters and enjoyed mainstream movies so I spent a long time on posterspy early on). There were a handful of opportunities that came from there but I could only accept a couple because of primary workplace commitments. Still, it showed that networking in a focused community was definitely a good place to start; I myself have huge trouble committing to social networks and really staying socially active, but I knew it was an essential ingredient in succeeding so I tried to make myself be involved in challenges and art support trains etc. as much as I could.

In parallel to all that I also ran a few third party online stores (redbubble, teepublic) for disposable income and would sometimes, if rarely, hit around $100-150 a month from those sources combined. It is a sort of thing that requires helper accounts on other social media sites to promote it on, because the stores themselves have a huge volume of content that translates into low organic discoverability. Obviously it was never gonna be the way towards financial independence through art, and with community projects being few and far between, I opened private commissions in around uhhh 2017 I think, focusing on offering a few styles I knew I could do well, and sometimes operating in individual fandoms (it was mostly a bioware thing to be frank). But I had to close them back down after a year or so, again because of work-life conflict and how badly it was burning me out. The reason I kept trying to monetize this hobby is because I honestly hated what I did for my main job and wanted to see a way out in some shape or form in the future.

And then in 2020 I had to quit my main job altogether because of *gestures at pandemic* and deal with a mental breakdown from all the wonderful things it did to us and me specifically. I took a short break and decided to give art a shot full-time, and that was around May this year. I was planning on opening up commissions again (and I still am), but a few sudden opportunities that fell in my lap moved that timetable down and now I'm grateful to even be doing something I am getting adequately paid for.

So, with that somewhat limited perspective, here's what I've learned that I'd tell myself if I was just starting out:

1. Being a fan of something can be a shortcut towards effective networking kickoffs. Which are important evidently. If you love something and enjoy making content for it, join communities, settle into a combination of social media websites that feel right for those interests + your body of work + your inner rhythm, and try to play to content discovery as much as your mental health allows you to. Like I said, I know that I myself am incredibly bad at self-motivating to talk to people, so I found that synergizing common interests into fanart - which I enjoyed making anyway - could be a way to give myself a gentle nudge forward and build those bridges leading to community activities, which then net experience and coverage. Sometimes even freelance projects from official avenues. Again; picking the right spaces for what you're after is key. Companies roam twitter, concept art recruiters scour artstation or linkedin etc, instagram can land you private commissions and collab opportunities, so on and so forth. Find your niche and try to kick up dust. However...

2. I do not believe that any social profile can replace a good portfolio. The thing that made an immediate difference to me this year was building a coherent, simple website with my best work front and center and a contact form on top. Every single opportunity I got came from that form (maybe via twitter or instagram initially, but always sealing the decision after going through the website), so I firmly believe that showcasing your skills and portfolio in a visually arresting and user-friendly way is a big priority. I had some reservations about tackling that task but fortunately I had help from a savvy life partner and we slapped it together via wordpress in less than a day. Twitter/whatever social media is prevalent in your target groups is definitely important to get the right eyes on your shit, yes, but those eyes will then look for a second stop where your work and rates are more clear and concise. Simplicity is key imo, I cannot overstate this. So make a cute, simple portfolio!

3. Your skills and rates will grow and change as you do. Let them. Over the years I built several lasting professional relationships from my obsession over mass effect and kept getting opportunities both from bioware and their partner companies, some small and some a bit bigger. A one-off job earlier this year opened an unexpected door to another much larger commitment, and then the work I did there brought some attention from small businesses looking for commercial commissions. These were all incredibly different projects in terms of scope and budget, and I've been tackling them all on a case-by-case basis and slowly coming into my own irt my needs, rates, and SOW thresholds. It is still a work in progress (and a LOT of literal work as well), and very much a thing I struggle with in publicly marketing, which is why I felt a tad underqualified to answer your question in the first place (obviously I did not let that stop me). But what it means for me now is that I am rapidly developing into whatever my "version" of a functioning freelance artist is, and when the conditions for that guy are met, I need to be able to confidently plant myself and operate from that space despite past precedents. Do not let anyone bully you into downpricing what you yourself perceive as legitimate products of personal growth and development. Speaking of which...

4. The shitty challenge of turning envy into inspiration, and paddling outside your comfort zones in full riot gear. it is hard, but realizing that being a miserable, self-hating artist in my early days got me nothing but more misery back was the first real step I took and what truly blew the hinges off. I was just not pleasant to be around, I would badmouth my work all the time, and it all somehow made sense in my broken mind because the validation I sought was purely external and the way I sought it was through eliciting sympathy via self-victimization (even when I made something objectively nice). It all led fucking nowhere. Except perhaps to my own narcissism that I one day managed to identify and start managing. So I started looking at things that made me seethe with envy and calmly deconstruct and figure out their inner workings instead, do studies, and find nuggets of inspiration or discover new ways to approach rendering or building up specific elements. It was an application of analytical diligence to what I wanted to be a purely emotional, esoteric workflow, but that I deep down knew wasn't. Art is a discipline and a skill, and maybe it isn't a straight line, but you gotta find some line to thread nevertheless. Being self-hating was almost an identity I had to break out of, and despite it still being like, 4-5% there? I realize its cause and effect on me, my work, and those around me, so it is with a conscious choice that I gently set it aside when I work and especially when I learn. It won't always stay quiet, but the effort is the difference. Your doors towards accepting true growth and venturing into uncharted territories, art styles, and networking will really open from there. But there's a huge caveat...

5. Toolsets, accessibility, privilege, and all the good things that enable artistic expression and profitability are not given equal to all. you might do all the mental work I mentioned to be ready to rock and roll and learn and draw your way out of anything, but digital art is a fucking money pit that asks almost too much at times. I don't got a good case study here but identifying and ensuring accessibility to the tools you need to do your best work is, like, super important. The ergonomics can improve as you make money and settle into the job, but the basics have to be made available to you. And some of that might not even be under your direct control. That can be anything from pen tablets to software subscriptions to opportunities in hiring sullied by sexism or what have you. You gotta navigate all that through careful networking and money/time management. I don't do a good job of devoting specific slices of time to work/study, and my primary clutch is iPad software which went from a good deal to a nightmare scenario over the years. So all I can say here is do what I didn't; network, invest in a PC/tablet, and pick a software you'll learn that won't burn a hole in your pocket.

6. Be nice to work with? This one is hard to articulate and has landed my own ass in hot water in my early years because of how socially inept I am, but nothing is more worthwhile than being.. like. a good person to work with. That can be anything like meeting deadlines, or sometimes missing them but eloquently articulating why, being generous in early stages, being communicable and not too wordy in your emails, having a good grasp on abstract artistic concepts and how to describe them in simple terms, having a clear, laid out framework of your working rates in commercial and non-commercial projects and sticking to those guns with grace, understanding when you need to say no and saying it well, the works. Just being nice. Sometimes that might mean going headstrong with something you believe in, or simmering down and sucking up to the big man, all relative and adaptive. Part and parcel of the service provision dance that we all have to do in order to make bank. Know your lines here, obviously, and don't like. work for nazis. or uh.. *shudders* exposure. but be nice and empathetic and communicable and word will travel eventually. Skill may be in abundance these days, but good people are most certainly not, and capitalism has a way of bubbling up scarcity. Grim, but uh, them's the breaks.

I know I'm ultimately telling you to like. Have a body of work, make a portfolio, grow, and network. But that's really how I see it for now. And being nice can be a cherry on top that sets you apart, along with the inherent irreplaceable voice of your artwork. I think I rambled on enough, but if there is something specific you need my help with, even if you want to come off anon and talk in private, please feel free.