Never was in NY or LA for long enough, but after living in Paris for a few years, and spending some time in London (which I’m intending to move to) I can say without a doubt it helped me grow as an artist. Work harder than anyone else.

About dealing mentally with the financial change: always try to have some money on the side, if anything goes wrong. For me, I liked the idea of someone helping me with clients, especially the business side of things because I’ve worked with a few big name clients. I actually think that connecting to your roots can make your work unique and that finding a place where you’re able to get into a good routine and have good support networks is the most important thing to create good art. They are good people to talk to. I would work more seriously in my first years, maybe at university I would have avoided so many distractions, because now I value more my free time that is not really free time, I only want to paint every time I have chance.

Artists don’t usually value themselves enough and that leads to undercharging for their work. For me, it would be a big step back to move somewhere where there wasn’t such a rich culture of murals and graffiti. So for my daughter I’m playing all day, so for her is difficult to take me seriously and understand that I really need to focus, that I can not stop every two minutes to look for a missing toy, so that’s when the situation gets a little difficult, but in general I love being able to work for myself. I’m still in the process of learning the business and financial part of freelancing, so I felt like I needed a guide while I’m starting out with my career. There’s a lot of different positive aspects to it, such as always having shows/exhibitions accessible to see, getting the chance to meet other creatives and to be a part of the network there. Gemma O’Brien – I think there are pros and cons. When you don’t have to spend time explaining the value of having and making art, you can get on to the more important task of working on ideas, learning and sharing skills, and putting your practice to a purpose. Looking back now, the best thing I learnt through this period was that when you aren’t busy you have more freedom to experiment and create what you really want.

I think like a lot of people it gets me caught up in it and I’m in love hate flow with it.

), Here’s a Sneak Peek Behind the Curtain of How SPI Operates. The culture of ‘next big thing’ and artists ‘breaking through’ is a falsehood. At times I definitely did feel anxious and stressed that I was going to fail, but after a little time and trust in myself it really paid off. I have been only to two art fairs right now, and I think art fairs are great for building connections. You grow with every project you work on, even if it’s not exactly what you wished for. Hi friends! Then other times when I take on a job solely for the money I find the creativity suffers and I don’t enjoy the process. I found that if you were more visible online and in the media, the more people would see and contact you for work (or at least approach you and keep you in mind for future projects).

I spend a lot of time on social media and other social websites, at least 2 hours a day. A very simple step but vitally important. I don’t sell work through my social media channels but definitely use it as a way to promote certain projects and exhibitions. But, I also always expect the floor to drop out from under me and will be ready to hustle and make t-shirts and stickers asap when I need to do that. Social media is a lot of hard work, and it takes a lot of time to curate it right. From selling, painting, packaging, shipping, photographing the products etc.

It also really matters if you can, that you are there with your work. If you feel jealous of another artist it can help you acknowledge what it is you want your art to do. We found a way to do it without regular funding partly because we demanded it was possible (see point 2). I don’t think I’d do anything differently. Social media has been really good to me for selling artwork. Your situation and art will be different to everyone else’s always, so just work hard and do the best that you can on projects in order to curate a really nice portfolio. I also had a blog last year, and good amount of traffic came from Google on my website. It is a bit anxiety inducing thinking about a future situation where there would be little projects coming in for a few months. I try to think of imagery for illustrations, and even comic / GIF ideas featuring them and their products. Maybe not necessarily to improve your voice as an artist, but definitely to form a little network around yourself.

I like to post everything that I’ve been working on, just to show a little more diverse commissions in my work. My social media following grew a lot when I first went freelance, but I didn’t make an effort…it just kind of happened . I think there are pros and cons. Several galleries I’ve worked with have branched out into art consultancy and public work. You never know what might happen in the future. For example, the arty parts of town are the most expensive to live, London is the most expensive city. Eventually I tried and succeeded in getting a job with a mural company. It’s only an insane amount of perseverance and hard work. I don’t know if I need to.

We're lo… https://t.co/2az1B65gEk- Friday Oct 9 - 2:04pm.

I have someone help me with the taxes once a year. As far as taxes, I’ve only just done it last year for the first time. A nice pay check does help too though!

Then small commissions led to bigger ones and so on. My first few years were pretty rough, but I think because of my good work ethic and interest in public work, I was able to string projects together, even if only very loosely. You grow with every project you work on, even if it’s not exactly what you wished for. We shouldn’t fear calling what we do ‘a job’, because being a creative *is* my job, and if there are times when I end up doing something I don’t necessarily love, I embrace those seasons knowing they’re contributing financially to future work I will love to do. It is a bit anxiety inducing thinking about a future situation where there would be little projects coming in for a few months. There’s a direct correlation between how much time I invest into social media and how much I sell through my online shop. But as advice, I think it’s good to have multiple revenue streams. Otherwise, it’s a great tool for my work! I would really do the bare minimum of non-illustration related work just so I could build a strong portfolio. How do you establish relationships with bigger brands? Some bad, some good. I would always feel guilty for doing so but looking back at how fast life moves it was the best decision I made.

Aaron De La Cruz – I have honestly went with my gut on every commercial project that has come my way. Try to think of something “eye catching” and creative that involves it and put it out on social media. This is something I always have in the back of my mind about future occasions, but luckily enough all the projects I’ve gotten to work on have been great and very rewarding. But, sometimes it feels overwhelming and I want to hide for a few days. We shouldn’t fear calling what we do ‘a job’, because being a creative *is* my job, and if there are times when I end up doing something I don’t necessarily love, I embrace those seasons knowing they’re contributing financially to future work I will love to do. For selling prints, I love Society6; I cannot stress enough how amazing it is to have a company handle printing, fulfillment, and customer service, especially for someone like me who works out of her tiny apartment (that she shares with her boyfriend). Absolutely! NYC is the most incredible city in the world in every aspect, obviously also in the artistic field. I must say that everything is going well for now, I always try to save and invest as much money as I can. I’ve always enjoyed what I’ve been working on. So for my daughter I’m playing all day, so for her is difficult to take me seriously and understand that I really need to focus, that I can not stop every two minutes to look for a missing toy, so that’s when the situation gets a little difficult, but in general I love being able to work for myself. While it’s important for artists to know major art centers, It’s equally important to get the fugg out of places like NY and LA to also experience how artists do it in places where no one is watching.

We don’t have to if we don’t want to of course. It can hurt more than it can help. You have to make sure you’re not consumed by the idea of “likes” and “followers” although it is true in that it influences the outcome/success of your career. What would I do different? I have assistants help paint murals. Be confident in your work and whatever makes you passionate. I think it is a huge help to live in a city with a strong art scene. After graduating I spent a lot of time trying to develop my work, and began to submit my portfolio to various online publications and websites. In these cases, I view the work as a growth opportunity, to learn something new that I can take into my everyday practice.

I have always viewed the attempt to make a living as an artist as a deeply political act. It’s a personal thing though – I know other freelance artists who love managing the production side and creative together. Be ungrateful and entitled. I like to post everything that I’ve been working on, just to show a little more diverse commissions in my work. It’s only an insane amount of perseverance and hard work. Amber Vittoria – I try and block of 30-60 minutes every few days to focus on Instagram (in addition to checking up on it when I’m in lines at places, on the subway, on the bus, in a cab, etc.). Good artists who say ‘I never see any other artists work’ to make themselves look cool and authentic are BIG FAT LIARS. I try to look at every job I take as an challenge, and not as an obstacle. Don’t be fooled into thinking you have to make shit art in order to make a living. But nothing as official as being my full time representative. Sometimes they will include my work as a potential candidate for projects. It made me much more focused during studio time. What’s something you wish someone told you before you did it? Specific strategies to help artists find out who their “target collector” is. I worked on wallpapers, murals and  faux finishing for casinos, high end homes and the like.

Read up on the concepts of digital marketing, SEO, and promotion. Be ungrateful and entitled. I’m assuming I could be in a better place money wise (I think if that’s the point right?) Like I said, I do it all wrong.

I’ve been very lucky, but I really have worked a lot too.

The same thing that seems easy to you, can be a big deal for someone else! "You won't make any money as an artist. Balance lower supply with a little higher demand.

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