How to Make a Living Off Art in Denver

Mischelle Moy: How did y'all brand the leap to becoming a total time artist?

Gemma O'Brien – Artist, Designer, Illustrator – I did take a day job at outset. When I first went out on my ain I got another part-time chore selling flowers at the markets considering I was worried I wouldn't be able to support myself solely through freelance work. Looking dorsum now, the best thing I learnt through this menstruation was that when you aren't busy yous take more liberty to experiment and create what yous actually want.

Amber Vittoria – Illustrator – My journey towards working for myself involved a lot of support, both emotionally and financially, from others. The ability to motion abode for a year later graduating college, to have my parents cover majority of my loans, and to have parents with patience every bit I figured out who I wanted to be as a creative, were crucial for me. I worked full-time as a designer and art director for 5-6 years while freelancing as an illustrator on nights and weekends, saved as much every bit I could, and built my freelance work upwards to a point where I could no longer exercise both without cutting into my time for slumber. With this all said, at that place is no wrong path to become a full-time artist; everyone'due south backgrounds emotionally and financially are very different, and if you're reading this and still a bit thrown on what to do, delight experience free to bulletin me on Instagram, and I can try my all-time to heed and aid.

Jet Martinez – Artist – For me, information technology hasn't been one big leap, but rather a series of small hops. Footling skips. I worked in food service for virtually fifteen years from high schoolhouse,  through college and art school. To this twenty-four hour period, I don't desire to know what anyone is eating or going to eat. Over it. Somewhen I tried and succeeded in getting a job with a landscape company. I didn't know at that place was such a thing as a "landscape visitor", but when I constitute out about some in my surface area I worked as a studio painter with a couple companies for well-nigh v years. I worked on wallpapers, murals and  faux finishing for casinos, high end homes and the like.

This fourth dimension was really of import for my personal evolution because it was a complete switch in what I was doing with my bodily time.  Fifty-fifty though I wasn't exclusively working for myself, I was working total fourth dimension every bit an artist. My days looked different. Rather than "working in studio in the morning, going to the bar/ restaurant to work, then working in studio at dark, echo", my days expect like "go to studio, pigment, go to studio, paint, repeat".

Being able to have a creative day job immune me to stay in the flow. I spent most of my gratis time in studio or working on street pieces and small mural commissions. When I eventually transitioned to doing my work total time, I had a pretty adept agreement of how to run a working studio and had adult good painting habits, like painting all the fuggin time. Understanding what the high stop companies accuse for projects also immune me to value my ain work in relation to, say, a visitor with 30 years experience.

Aaron De La Cruz – Artist – My twenty-four hour period job was in the the education field. I was didactics and doing professional development with schools that had no permanent art classes. I had been doing this for ten years earlier I went full time with my own work. But five years into educational activity I was balancing both doing my art and teaching and it got to the point where it made more than sense for me (financially) for me to do my art full time. This was the same time I was becoming a father so that was stressful.

Alja Horvat – Illustrator – I started freelancing while I was still attending the university, and then my parents were still kinda supporting me financially and that's why it'south been so much easier for me. I was freelancing for one year and half, earlier I was able to support myself 100%.

Estee Preda – Illustrator – I come from a DIY filmmaking background so I didn't start illustrating until I was in my late 20s. By and then I had already figured out how to make it by with my work so trading mediums wasn't likewise large of a claiming. What actually helped me is that I decided to isolate myself in a motel in the wood where my rent was really low and where I could focus on building this new endeavour.

Sarah Maxwell – Illustrator – It sort of happened quite quickly. 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. Non long after did I get-go seeing features of my work, and got a wave of emails asking for interviews. A lot of clients starting coming to me directly asking for commissions, due to this spotlight from media and a large Instagram following. I've been really fortunate considering even from the beginning I've ever had a large workflow coming in, so freelancing was piece of cake for me to pick up.

JKCPhotos: How exercise you deal with having to have on gigs that are not aligned creatively, but are needed for financial reason? Does it brand you savor the process less; because what was once a creative outlet is now sometimes 'a job'?

Melody Hansen – Illustrator – If I need the work for financial reasons, I'll just deal with information technology. I retrieve not only is coin a taboo in full general, merely it especially is in the creative community. Which is light-headed, because coin is essential to an artist's life, as well. Having been in situations where the lack coin acquired me a lot of feet and creative cake, I sympathize the importance of taking on work that can help y'all financially. I think no matter what you do, whether personal or professional person, at some point, you'll go bored and not bask your process as much. And that'south okay. Nosotros shouldn't fear calling what we do 'a job', because existence a creative *is* my chore, and if in that location 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 dear to do.

Herikita – Artist – Well, I accept always had the luck that the themes that accept been handed to me I have made them part of my history and I take identified with them, I have constitute the perfect manner to work with them.

Alja Horvat – When you are on beginning of your journey, you experience like you need to take *every* chore that is out there. By and large to earn money and to get more attending from potential customers. I endeavor to await at every job I take as an challenge, and not equally an obstacle. You grow with every project y'all work on, even if information technology's not exactly what y'all wished for.

Estee Preda – It can be hard from time to time, merely I ever remind myself how lucky I am that people care enough about my work to reach out to me. Of course you take to be a little selective if you lot tin can afford it. In general I've been lucky with the commissions I've gotten over the years. I never had to compromise my manner likewise much and if I'chiliad non comfortable doing something for whatever reason, I always express it so I can keep work equally pleasant as possible.

Sarah Maxwell – This is something I always have in the dorsum of my mind almost future occasions, but luckily plenty all the projects I've gotten to work on have been great and very rewarding. I've always enjoyed what I've been working on. If anything, there have been times where there'south been multiple commissions all at once, or a huge blitheness to do. Y'all're tired, sometimes frustrated somethings not coming out right- but I e'er think well-nigh the finish issue and how accomplished I'll feel to nowadays to a client something special. That always helps. I'grand sure there will be future commissions that aren't my favorite, but in the end I'one thousand happy to put more work into my portfolio. A nice pay check does help besides though!

Amber Vittoria – Sometimes I have the ability to say no to projects that are a bit out of range, merely in the times I am unable to pass, I let myself to experiment with these projects, even if they are a bit of a deviation from the work I love to make. In these cases, I view the work as a growth opportunity, to larn something new that I tin have into my everyday practise. Not all work volition be portfolio work, and that is okay.

Gemma O'Brien – I call back in that location are pros and cons. Sometimes when I work on solo exhibitions or personal work I miss the construction and direction of more commercial projects. Then other times when I take on a job solely for the money I detect the creativity suffers and I don't enjoy the process. I think the cardinal is to attempt and observe a balance between both.

Jet Martinez – There'south a one thousand thousand means to answer this, and they all depend on the current situation and the moment.  Notwithstanding, I call back that an artist e'er decides what to give of themselves. In that location's been enough of times when I painted something for a person or visitor that was super easy to practice, had nothing to practise with my own artwork and I was paid fairly for.

At a certain stage in a immature artist'south career, experience is really of import, and it's important to be open to projects that come your way.  As you gain more jobs, you can start to exist more selective. It'due south of import to not just give your personal best work away. Doing projects exterior of what ane usually does, gives an creative person a chance to endeavor something new… and that's always adept.

Marking Sarmel: How did yous deal mentally with the fiscal modify from the security of a day chore to working for yourself?

Gemma O'Brien – I call back it is tough initially. But ultimately yous realize you don't need a huge amount of money to live a comfortable life. When you don't have much, yous don't have much to lose, sometimes this can free you lot creatively. But I also think you lot need a sure amount of security and stability to build on and actually feel free to create expert piece of work. Having a plan, a niggling savings or taking on extra piece of work that's not the artwork helps too. Having the side-gig helped. I don't think I'd practice anything differently. But as advice, I call up information technology's good to have multiple revenue streams. Not all necessarily coming from your art.

Jet Martinez  – For me, becoming a fully contained creative person coincides with becoming a begetter. So, to be honest, mentally, I had a pretty difficult time for a while. Becoming a father at the same time equally becoming a full fourth dimension independent artist presented many many challenges; but it also presented advantages I hadn't foreseen. It made me much more focused during studio fourth dimension. It changed the tenor when it came to negotiating projects. People are just nicer when they know you're a dad and you're trying to raise kids with art. I retrieve that while beingness a male parent has had difficulties, I have been really blessed by my kids. I see my art non just every bit my personal explorations, merely as well as the family business, if that makes sense… and that, I remember, gives me a more rooted feeling with my art.

Herikita – I've never had a job dissimilar than working for myself. It's a great reward, now, I'm a mother that works from her house and a mother that paints. Then for my daughter I'm playing all twenty-four hour period, and then for her is difficult to take me seriously and sympathise that I really demand to focus, that I can not stop every two minutes to await for a missing toy, so that'southward when the situation gets a little difficult, but in general I love being able to work for myself.

Aaron De La Cruz – I was raised having moments where we ate beans and rice for a month or the electricity might not be on for a weekend just we were e'er happy and my parents kept striving for more and raised us how to spend money wisely and more than chiefly salvage. This upbringing was a neat foundation for how to utilise my time and money. I spent five years being broke out of schoolhouse and it was still the best moments of my life as a creative figuring out how to make information technology in a big city taking any job I could become.

Alja Horvat – I never actually had a proper day chore, I simply worked equally a student afterwards classes at the printing visitor, but I was never employed from 9-5 (except in the summer). Every bit I said, I was freelancing while I was attention University, and information technology was so much easier for me, considering parents paid my rent, and gave me some extra coin to get through the calendar month, because it's hard to earn some decent money while you lot need to report and finish school. But during the concluding year in university I prepared the foundation for my business, then I don't need to worry about my financial situation right now. About dealing mentally with the financial change: always endeavor to have some money on the side, if anything goes incorrect. You will sleep easier!

Sarah Maxwell – I've honestly never dealt with this because freelancing was my showtime real job. It is a bit anxiety inducing thinking nearly a future state of affairs where there would be little projects coming in for a few months. I always endeavour to recollect of back up plans, or save enough money for a time when that would occur. Thankfully I've never had to worry too much about that, just the other upshot also with freelancing is depending on various clients almost payment. I've had late payments from clients a scattering of times, and that is definitely a stress to deal with by yourself. You just have to be on your toes at times and make sure to follow up with everything.

Bister Vittoria – I am fortunate that my father is in finance; we worked together on creating a monthly spreadsheet that tracks my earnings per calendar month. (If you'd like a template of my spreadsheet, feel free to email me!) For expenses, I set up a free Expensify business relationship to easily rail my different types of spending for my projects. Mentally, I still struggle, just I remind myself that it is okay to be nervous near the uncertainty of a freelance life.

Graeme Zirk: How did you lot stay afloat financially and professionally your first year of working for yourself? Anything you'd practise differently?

Aaron De La Cruz – I have honestly went with my gut on every commercial projection that has come my fashion. Doing this has allowed me to only blame myself if the project goes south.

Alja Horvat – This is actually my first (real) year of working for myself, I opened my business organisation in October 2018, 4 months later on I finished university. I must say that everything is going well for now, I e'er try to save and invest as much money as I can. I am non a large spender and I think it is very important to have a good relationship with the money. People tend to think that money is evil, only try to expect at it as a solution and something good if it is handled correct. If I could practise anything over again, I would spend more time on preparing my art shop and my brand identity.

Estee Preda – I mostly lived off my savings and would accept occasional video projects here and in that location. I would really do the bare minimum of non-illustration related work just and so I could build a strong portfolio.

Jet Martinez – I think mayhap I would accept planned a bit amend. My beginning few years were pretty crude, but I recall because of my good piece of work ethic and involvement in public work, I was able to string projects together, even if only very loosely. I did all kinds of random $500 jobs of all kinds of sizes. Mostly I did a lot of free, minor works on the street. From those pieces, dissimilar people interested in art and street art started contacting. And then small-scale commissions led to bigger ones and then on. There are definitely things I would accept done differently, still I wouldn't want to unlearn the lessons from even the worst of experiences working and being an creative person.

Herikita – well I have to admit that my husband was a smashing back up, he has always been there for me. What would I exercise unlike? I would work more seriously in my first years, maybe at university I would have avoided so many distractions, considering now I value more than my gratis time that is not actually free fourth dimension, I just want to paint every time I accept gamble.

Sarah Maxwell – I tried to piece of work as hard equally possible and accept every bit many commissions as I could. If I wasn't working on a projection, I tried reaching out to various people and companies with my portfolio asking for advice and possible collaboration considerations. Alongside that, I made certain that I was producing for my Instagram and worked to grow my follower count. I institute that if you lot were more than 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 heed for future projects). Looking dorsum at my first year of freelancing, I'g pretty pleased with my progress and can definitely say that I've learned a lot in that time. I only wish that I could've produced more work!

Herikita

Mark Sarmel: What is your main revenue stream?

Alja Horvat – Information technology depends on the month, only mostly POD sites and my Etsy shop. I too earn practiced % of money doing client piece of work and commissions.

Estee Preda – At the moment, illustration pays the bills.

Sarah Maxwell – At the moment, I'd say I'thou doing a lot of editorial work. The majority of what I do is illustrating for diverse articles online for magazines, merely lately I've gotten some requests for book covers. These commissions are always fun because of the different stories that are coming through.

Melody Hansen – Right now, information technology's been branding projects and my online shop.

Gemma O'Brien – Now it is commercial projects and make commissions.

Jet Martinez – I am primarily a muralist. Most of my revenue comes from painting both private and public commissioned work.

Herikita – Selling original paints, I likewise practice collaborations with a brand of hand bags, and commissions in full general.

Aaron De La Cruz – My Artwork

Brandi Hofer, Marker Sarmel: Are you represented in any fashion, either by a gallery or a an analogy/photo bureau? Exercise you demand to?

Alja Horvat – I am not and to exist completely honest I never idea about beingness represented past anyone and I don't know if this is actually necessary, I am doing just fine being represented by myself.

Estee Preda – I'm not simply I wouldn't be against it either. Sometimes I think it would be neat to accept someone help me save time dealing with the business side of things but at the same time I'yard not actually overwhelmed past it. I would say, if you experience comfy enough putting yourself out in that location and similar/have time to deal with business matters, mayhap y'all don't need to be represented.

Sarah Maxwell – Yes! I am represented by Folio in London. Having an agent isn't required, you can totally work without one. For me, I liked the idea of someone helping me with clients, peculiarly the business side of things considering I've worked with a few big proper noun clients. I'm withal in the process of learning the business organization and fiscal office of freelancing, so I felt like I needed a guide while I'm starting out with my career. Of class, they exercise have a percentage of the commission payment, only they are a huge help and are dandy to work with and am getting my name out to more people. On top of all of that, having them as an bureau makes me feel a bit more secure as I have an fifty-fifty bigger catamenia of work due to them.

Tune Hansen – I'm not, just I've definitely considered it/however am. From what I've heard and read, it all depends on what you're looking for and who you're represented past. In a lot of cases, it seems, you don't desire to be fully dependent on an agent for consequent work.

Amber Vittoria – I have one representative in Ireland, which is a very new relationship, just for the Americas and other parts of Europe, I've been able to observe client work on my own. Because of this ability to cocky-tap into these markets, I have thus-far gone it on my own.

Gemma O'Brien – Yes, 2 illustration reps and a gallery. I call up it is especially helpful to deal with big projects with complex contracts, negotiating budgets and managing expectations between client and artist. It'due south a personal thing though – I know other freelance artists who love managing the production side and creative together.

Jet Martinez – Non officially. Several galleries I've worked with have branched out into art consultancy and public piece of work.  Sometimes they will include my work as a potential candidate for projects. But goose egg as official as being my full time representative.

I have been at the crossroads of this question for years.  I oftentimes need a little assist with that aspect, but honestly, I besides go by with just me, without having to cut someone a cheque on a regular basis.

Right at present I'm working with a "slow food" mentality to my fine art. Rather than blasting my fine art into every crack, I am trying to limit my art to what I can actually make with my hands. Rest lower supply with a little higher demand. Simply, I also always expect the floor to drop out from under me and will be fix to hustle and make t-shirts and stickers asap when I need to exercise that. Short answer: yes, have some representation just totally demand assist in this department.

Herikita – Since 2012 I've been in contact with a gallery, and let's say that with this gallery I've been in different art fairs, I don't take an illustration agency, maybe it would be interesting to be in i. I believe that painting things by commission can assist y'all get out of your comfort zone and explore subjects that you unremarkably wouldn't work with. It'southward besides a great exercise to better your agility while painting.

Aaron De La Cruz – No. I don't know if I need to. I'm assuming I could be in a better place money wise (I think if that'south the signal right?) but I'g comfortable at present where I'1000 at.

Brandi Hofer, Marker Sarmel: Are there whatsoever benefits to attending/existence a role of an fine art fair? Would it devalue my work as a fine artist?

Alja Horvat – I have been only to two art fairs right at present, and I recollect fine art fairs are great for building connections. About devaluing work as a fine creative person; it also depends on what kind of fine art fair are you attending. Yous need to choose them carefully!

Estee Preda – I guess information technology would depend on the kind of art fair. Some are really well curated and cater to the right demographic. I don't think it necessarily devalues your work if you selection the correct fairs where people know the value of the fine art yous're making.

Sarah Maxwell – Unfortunately, I don't have really any experience with this, I've never have taken part in an art off-white. I volition say that I've e'er tried to go to them in the by- it's always adept to run into what other people are doing and make possible connections to grow your network.

Jet Martinez – I don't really know. Networking? I personally get completely overwhelmed and can't take in anything after 45 minutes. Get completely competitive and demoralized by both the very high standard of art, and the very low standard of art. Information technology definitely depends on if y'all call back the gallery showing your work, is actually talking your work up. It also really matters if yous can, that y'all are at that place with your work.

Herikita – I believe that every opportunity for others to get to know your piece of work is always a peachy opportunity, I'm always open up to this kind of opportunities.

Marking Sarmel: Is there whatever advantage to you to living closer to a stronger art scene like in NY or LA?

Alja Horvat – I actually live in Slovenia, and that'due south very far away from NY and LA. (And far away from art scene in Europe).The only disadvantage is that I can't find a studio, and that art scene is non then much adult where I live, but thanks god for the social media and net.

Estee Preda – Big cities are filled with extremely aggressive people and you can have access to so many resources. The thing is if you can't afford making fine art in a big urban center and you end upwardly investing all your time working a task that you don't intendance about to pay for your lifestyle and so I think it tin be detrimental to your art.

Sarah Maxwell – Admittedly! I think it is a huge assistance to live in a city with a strong art scene. There's a lot of different positive aspects to information technology, such as ever having shows/exhibitions attainable to come across, getting the chance to meet other creatives and to be a part of the network there. Having a network and cultivating it is very important, and the opportunities are multiplied by meeting more than and more people. Never was in NY or LA for long enough, but afterward living in Paris for a few years, and spending some time in London (which I'thou intending to move to) I tin can say without a doubt it helped me grow as an artist.

Gemma O'Brien – I personally don't call up that being in a certain place is significant. I actually think that connecting to your roots tin can make your piece of work unique and that finding a place where you're able to become into a skillful routine and have good back up networks is the most important affair to create good art.

Jet Martinez – I think and so. At least for a bit. Maybe not necessarily to amend your voice as an artist, but definitely to course a niggling network around yourself. For me, it would exist a big step back to motility somewhere where there wasn't such a rich civilization of murals and graffiti. San Francisco and the Bay Area may non have the strongest art market place, only we exercise have a really stiff art scene of people making and sharing things. When y'all don't accept to spend fourth dimension explaining the value of having and making art, yous can become on to the more than important task of working on ideas, learning and sharing skills, and putting your practice to a purpose. While it's important for artists to know major art centers, It'south equally important to get the fugg out of places like NY and LA to too experience how artists practice it in places where no one is watching.

Herikita – I alive in Republic of colombia, I feel that globalization really has helped me to exist in contact worldwide, and is probably like that. NYC is the well-nigh incredible urban center in the world in every aspect, obviously also in the artistic field. Recently I was painting live in a handbag store called MIN AND MON in Soho in NYC, it's something I'm hoping to repeat.

Aaron De La Cruz – I think living closer to LA has benefited me. I have had many projects and sales come from in that location.

Marker Sarmel: How much fourth dimension/focus exercise you put into building up a social media post-obit? Do you lot sell work through your social media channels?

Alja Horvat – I spend a lot of time on social media and other social websites, at least 2 hours a day. I try (when I can) to post 3-4 times per calendar week. I as well had a web log last year, and good amount of traffic came from Google on my website. Instagram is the social channel I use the most, and information technology'southward bully for visual artists / well-nigh of my buyers come from my Instagram, or web log that featured me.

Estee Preda – Social media has been actually good to me for selling artwork. There's a direct correlation between how much fourth dimension I invest into social media and how much I sell through my online shop. When I do decide to focus on that outlet to make money, I hurts other areas though. I remember you lot become a little bit at the whim of what sells all-time then you lot end up creating the same product over and over once again and it can stifle you.

Sarah Maxwell – Oh boy. Social media is a lot of difficult work, and it takes a lot of time to curate it correct. I spend a lot on mine, but I likewise try to make sure information technology doesn't dominion over my work and creativity. I do brand sure to post as often every bit I can, but social media is tricky. You take to make sure y'all're not consumed past the idea of "likes" and "followers" although it is true in that it influences the upshot/success of your career. Similar I said before, I remember due to the fact that my fine art has been in the spotlight and I have a expert following on my Instagram that it's created opportunities for me to succeed more than before. And I practise advertise some prints of mine through my social media accounts!

Tune Hansen – A lot of my networking happens online, including getting new clients. A large percentage of my online shop customers come from IG, and so, I try to utilize my social networks in the all-time mode I can. Only, sometimes it feels overwhelming and I want to hide for a few days. That'southward when I'm reminded the importance of balancing betwixt sharing my work and procedure, and having quiet fourth dimension with myself.

Bister Vittoria – I effort and cake of thirty-hour every few days to focus on Instagram (in addition to checking up on information technology when I'm in lines at places, on the subway, on the bus, in a cab, etc.). I love to sell my piece of work through Instagram. To keep purchasing safe, I use platforms similar Tictail or Etsy to transact, simply the ability to connect with the person buying my piece of work through social is really amazing.

Gemma O'Brien – My social media post-obit grew a lot when I first went freelance, but I didn't brand an endeavor…it but kind of happened . I don't sell work through my social media channels but definitely utilise it as a fashion to promote certain projects and exhibitions.

Jet Martinez – Probably too much. Spent the day trying to effigy out who is messing with my algorithm! Why they gotta do that?! Information technology messes with me. I call up like a lot of people information technology gets me caught up in information technology and I'm in honey detest flow with it. Sometimes it'southward great and sometimes it's a shallow masturbatory practice of self admiration/ detestation.

Otherwise, it's a great tool for my piece of work!  I make some contacts there and so direct them to email and communicate by phone or emails. Unlike my website, I can put up recent projects with snarky captions. If I wasn't then focused on my endorphin reward of likes, I could probably pay attention to the numbers and run into what people like and do more than of that.

Herikita – I spend a lot of my time, currently I'1000 moving effectually xc% of my through social networks.

Aaron De La Cruz – I have never spent time focusing on social media followings. I use it just in the moment and its fun. I have received DM's that I channel to my electronic mail if they are serious and that has turned into sales or projects.

Annette Womack – How do you curate your work online? Practice you limit yourself to sure materials/techniques/subject matters? Practice you only show piece of work that fits a sure mold?

Alja Horvat – To go on the post-obit you need to ready some standards and not publish everything you do on social media. I have a filter, what tin can be published and what not. If I do something that doesn't represent me, I won't mail service in social media. Yous don't need to exist everything to anybody. For example, if you have art mode that you are recognized for, dont post something others won't recognize its yours. It can hurt more than than it can help.

Estee Preda – I do. I either prove commercial projects that I'm really proud of or just personal piece of work. I piece of work very difficult to build an idiosyncratic universe and I don't desire to dilute information technology with ideas that don't personally come from me.

Sarah Maxwell – No I don't effort to limit myself, although I exercise have a set style and subject matter that people recognize me by. I like to post everything that I've been working on, merely to show a little more diverse commissions in my piece of work. My audience know me more by my color choice of pastel pink and blue, and a lot of the time people request it for commissions so even those pieces look similar they're in the same universe equally the one I created. Most of the time everything fits a sure artful but recently I've been posting things that I'k experimenting with that are unlike. I know there are people that benefit from sticking to a strict aesthetic, but I'grand not afraid to explore options and interests and seeing how my audience reacts to it.

Melody Hansen – Being someone who likes beingness artistic in many different means, I find it challenging to marketplace myself or to put my work in ane place. When information technology comes to my social platforms, I find that a lot of people follow me for a specific style and when I share something different, people don't engage with it every bit much. But, at the end of the day, I prioritize my thought procedure, being genuine and unapologetic, and since in that location are many dissimilar facets to who I am, my work will accept a lot of variety, also.

Gemma O'Brien – I effort to only testify piece of work on my social/personal website that I am proud of at the time…or the kind of work that will lead to more than commissions of the same nature.

Jet Martinez – I more often than not post my artwork in process and finished. I get a piffling snarky with hashtags but I try to keep it friendly. I almost never ever post selfies or pictures of myself. Similar I said, I do information technology all wrong.

Herikita – I basically upload to my networks everything I exercise, personal piece of work, commissions, my personal life, I don't filter anything.

Aaron De La Cruz – I choose what images I feel piece of work best for my website, that'south nearly every bit far as the curating goes for my online work.

Graeme Zirk: I beloved doing work for my friends and small-scale businesses, but I'd like to get the attending of more visible, better paying clients. How do y'all institute relationships with bigger brands?

Alja Horvat – I don't contact brands by myself (mayhap I should starting time doing that to get more than jobs!!), they always contact me for work, only what can you do is follow them on social media (+ people that y'all can find that are working in the brand you want to do some piece of work with and endeavor to build relationship with them).

Estee Preda – I remember a good place to start is past reaching out to established local businesses. They similar to encourage local artists by hiring them and they also have the resources to reach out to a lot of people which can get you lot more attention

Sarah Maxwell – Create passion projects. Take a brand you want to work with ? Try to think of something "eye catching" and creative that involves information technology and put it out on social media. For instance, there are sure companies I'd die to work for more oft, even have a contract with or be a make influencer. I try to retrieve of imagery for illustrations, and fifty-fifty comic / GIF ideas featuring them and their products. Anything I think I could bring to the table that is different that would go their attention besides as gain an audience. Just work hard and post as much as you can and see what is successful. Y'all never know what might happen in the future.

Amber Vittoria – I try to notice an email contact at those brands and send an email; many times I won't receive a response, just the few times I do makes it worth the outreach.

Gemma O'Brien – I retrieve the more experience and the bigger torso of work you create that is uniquely "you", the more probable brands will want to interact. Focus on creating good work and make it your own, and the rest volition follow.

Jet Martinez – I practise wish that I had more control in this regard. In my experience, it's hard and unusual for an artist to work direct with a big visitor or high end client.  Nigh of the time an artist would be working with an art consultant of some sort who works directly with the client.

It'southward really of import to do good work and keep good relationships with your clients.  It creates certain intentionality and momentum to your work and your menstruum. When an artist starts cutting corners and doing crap work, it starts to catch up. When you act shady, people don't want to work with you. When y'all are nice and solid to work with, people volition telephone call you or recommend y'all the side by side fourth dimension they need something painted.

Herikita – I've been very lucky, merely I really take worked a lot too. I believe that when you want to accomplish something you lot take to focus and get for it. The keen brands I've worked with, accept reached out to me, but sometimes I also attempt to search, manage opportunities.

Mark Sarmel: What help do you get on a daily ground? Practise you have someone help or practise your taxes? Does someone else handle selling your work? Helping you with fine art show?

Alja Horvat – I practice have an accountant for my taxes, and other business related issues or questions, but everything else I practise by myself. From selling, painting, packaging, shipping, photographing the products etc. I love that my job is so diverse, when I don't experience similar painting at all, I can pack some orders or do something else. I don't need to do but one thing during the whole mean solar day.

Estee Preda – I exercise everything myself. I love the challenges that come with problem solving.

Sarah Maxwell – On a daily footing, my agents treatment commissions and negotiating prices and timings for me. That cuts out one-half of my time discussing the business organisation with the clients and allows me more than time and energy to focus on the work/product. As far every bit taxes, I've but but done it last year for the first time. I actually had my parents guide me through it and it wasn't equally terrible as I had imagined. This year though, I'm definitely getting some help as I'm working with a bulk of international clients as well as having my amanuensis in London. I'll have to encounter how that goes!

Amber Vittoria – I do bulk of the work on my own, but for taxes, my father will check them for me before I submit them. For selling prints, I honey Society6; I cannot stress enough how astonishing it is to have a company handle press, fulfillment, and customer service, specially for someone similar me who works out of her tiny apartment (that she shares with her boyfriend). For selling originals, I pack and mail those myself. I have all the same to do an art show, only if I do, I'll keep you lot posted!

Gemma O'Brien – I have a fair corporeality of help, simply this has only come with time. At the beginning I thought I had to practice everything myself. At present I have the producers/agents from my two reps to help manage nigh projects. I take China Heights Gallery help with exhibitions. I take assistants help pigment murals. If I feel overwhelmed and I think it will touch on the work, and I have a budget in a project to hire assistance, I unremarkably will, but this is definitely a luxury.

Jet Martinez – Almost none. I have someone help me with the taxes one time a yr. Other than that, as mentioned, keep it pretty much to what I can do. I feel similar even with the slightest adjustment to my organization and taking people on, I could really meliorate on rates of response to emails, prints, and productivity in general. I would be a lot busier.

Aaron De La Cruz – I have an assistant in the studio who helps with shipping and bouncing ideas off of, a graphic designer who handles transferring my work digitally. I too have a manager who looks over contracts and handle calls when I am unable to. Taxes are handled by a professional (only I did my own taxes from age xv-30). I think information technology's a skilful time to pay someone when your time is worth more to spend towards your business vs doing the task you are wanting to hire someone to do for you.

Mischelle Moy: What's the biggest slice of advice you'd give an artist looking to make the spring to freelance? What's something you lot wish someone told you before you lot did it?

Alja Horvat – Don't undervalue yourself and don't undercharge! Artists don't usually value themselves enough and that leads to undercharging for their work. If something seems easy to y'all, it'southward only because you lot spent a lot of time learning this. The same thing that seems easy to you, can exist a big deal for someone else!

Estee Preda – Find yourself a situation where you tin can work on your art full-time. I wish I would have been told earlier that talent doesn't actually exist, anyhow not in the romanticized sense. Information technology'southward only an insane amount of perseverance and hard piece of work.

Sarah Maxwell – Be confident in your work and whatever makes you passionate. Try to not compare yourself to others and become discouraged (which I know tin can exist hard). Your state of affairs and art will be different to everyone else'southward always, so just work hard and do the all-time that y'all can on projects in lodge to curate a really nice portfolio. My parents e'er told me to be patient and trust in what I was doing, only to continue to produce every bit much every bit I could and put myself out there. At times I definitely did feel anxious and stressed that I was going to neglect, but after a little time and trust in myself information technology really paid off. I'm still growing as an artist myself, simply that's something I can say equally my little slice of communication.

Melody Hansen – Freelancing is challenging. There are things you lot can plan out and then there are a lot of unexpected turns and surprises. Some bad, some good. Get to know yourself intimately, go confident in your skills, so y'all know your resources. And find ways that are unique to y'all to use each one of those resources, specially when yous're struggling. If you're downwardly, y'all *are* capable of getting back up. And don't fear reaching out if you demand help or advice, we're all learning every bit we get, anyway.

Amber Vittoria – There is no ane correct fashion to alive a freelance life.

Gemma O'Brien – I'd simply say – have a plan and an extra source of income so you can focus on making the best piece of work yous can!

Jet Martinez
short term career:
Be a dick and do lots of crap, fast work. Human activity like art is dead. Fill your art page with selfies. Do your art in short spurts and vehement incoherent bursts. Be ungrateful and entitled. Have no subject or solid work ethic.  Everyone loves a trainwreck, and will encourage the bad behavior. Your career will exist a beautiful meteor ,before long forgotten but for it'southward stories of infamy.

long term career:
Do your craft over and over in every bit many ways equally possible. Be nice or at to the lowest degree respectable. Be accountable. Actually like and be interested in fine art if y'all're going to exist doing it. Incorporate your art into your daily schedule. Be generous with your fine art. Exist humble. Work harder than anyone else. Be an honest approximate of your own work and improve. Take care of yourself. Past trying to be a solid artist, I recollect you earn the respect of your community and those effectually yous. I don't really know, merely I accept a feeling that by creating customs, an creative person ensures longevity.

Herikita – Work hard and you lot will see the reward. If you feel that you were built-in to pigment only dedicate your life and efforts to it. In my case it makes me very happy, information technology's something I feel in my brain when I sit to paint, some kind of absolute relaxation. Sometimes day to day stuff is similar trying to brand a call and not getting an reply, to paint to me is to get the phone call to the other side. Something that I would love that someone would accept said to me before is about good pigment and piece of work spaces, just I likewise believe everything is a personal discovery.

Aaron De La Cruz – Don't be afraid to be a hermit and not be at every social gathering and focus on your reasoning for creating. I have missed many shows and opportunities to meet "famous" or more successful people that I idea meeting them would have advanced me in my career by putting my family or close close friends outset. I would always feel guilty for doing and then simply looking back at how fast life moves it was the all-time decision I made. I wish someone told me earlier that there are no rules or set guidelines in the art world and don't be afraid to stay true to yourself and why you lot feel y'all need to keep creating.

Follow these artists:

Sarah Maxwell

Amber Vittoria

Aaron De La Cruz

Jet Martinez

Estee Preda

Melody Hansen

Alja Horvat

Gemma O'Brien

Herikita

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Source: https://www.booooooom.com/2019/02/04/9-artists-on-how-to-make-a-living-from-your-art/

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