Very interesting to hear about/think about this side of being an artist, in my experience as an artist my brain has been trained into understanding that results come from practice and every drawing I do is better in some way than the one before so I look at other artist's work and wish I could do that not thinking I could never do that but knowing how much more work I would have to do to get to that level, we think of it in levels I think whereas the 'non-artist' starts with the assumption that being 'artistic' is a talent you're born with which they lack and that the talent comes in varying degrees, which kinda insults or dismisses the years of practice and work that goes into being better.
I am in the horrific situation of having done so much digital commercial work that I haven't sat down with pens and actual paper or canvas and paints in years - I feel that I have definitely lost some skills in traditional illustration, I feel that not having Cmd-Z or hotkeys on my artboard renders me almost completely useless. The thought of going outside and producing quality work is as foreign to me now as it would be to a non-artist wishing they could draw. I would love to see a discussion on this specific issue.
Incredibly helpful, I spent 3 years living with some skydivers who employed me as the 'Dropzone artist' which required me to paint aircraft and vehicles and hangars with the airbrush, a completely new medium for me I was just assumed to be a master at because I was an illustrator, it was an eventful 3 years - I got really discouraged at times and felt like a fraud but now I can work an airbrush and have established a niche for myself in the industry and listening to this makes me realize the value of that experience and helps me feel better about it as a part of my ongoing journey
There's nothing quote like being published to break you out of the mould of the stereotypical artist, introverted, not always sure of your work, erasing a millions times etc. I absolutely fit within that class of artist but since my work got published I've come to accept each drawing as perfect, after all it has to go through several processes and departments before printing so you learn to let go of your OCD concerns of "is it good enough" or "I could have done that better or changed this/that" once it leaves your station it has to be good enough or the entire production process gets held up, it's a great life lesson, as is seeing your work on the shelves in some faraway supermarket in another country, it's those little moments that reassure you of your life choices and skills to where eventually you become so confident you almost become a different person. It has been an interesting journey for me
Best advice I was ever given with regards to my art that literally changed my life "be prolific! ...draw on the walls, draw on your clothes, just keep drawing, don't go to bed until you've drawn something prolific every day"
I operate in a different realm, a lonely realm but I very definitely consider it a realm within the 'art' world in general, I illustrate for aviation publications and provide freehand portraits of the flying machines for private clients - a very mechanical and technical realm but through it I get to inject my personal expression and ultimately have my say and it's because of that recognized style that I am established and am able to price my work, it's always a balancing act though between being affordable enough to keep busy and being priced right to be respected. Unlike more abstract or 'natural' artists I could never 'name my price' as it were because in the art world the technical realm is looked down on as more design or illustration but I strive to be recognized as an artist and am definitely working my way to that high price.
As a technical (aeronautical) illustrator I look to creature design and elements from nature and specifically dragons and birds of prey/raptors to inspire my conceptual work directly and indirectly ...so for me this is amazing to watch.
Great insights, I can't help notice similarities to the way i develop my characters except that mine are machines, its sometimes harder to conceptualize a story when you're anthropomorphizing, I tend to get stuck on the acute aspects of why this machine has those facial features or "what face is it making?", but thanks to David I am going to start thinking about the story, the scenario that brought about the specific character in that specific moment. Another thing he shows is that it's ok to erase and erase and erase again - 25 years in the industry and I still get 'Eraser guilt' lol.