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#commercial art
the-cricket-chirps · 3 days
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Niklaus Stoecklin, Still Life with Burning Candle, Matchbox and Dead Moth, 1950
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scavengedluxury · 1 month
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Advertising photography, 1990. From the Budapest municipal photography company archive.
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gleafer · 4 months
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Hi, I’m Gleafer, Nice to meetcher!
I like long walks on the beach, some occasional howling at the moon and making people GUFFAW at my illustrations.
I post here, there and everywhere. Along with a Patreon where I allow things to get a tad…spicy in my art collections.
Smash the follow button if you like and enjoy the view I provide of angst, humor, nonsense and absurdity.
I plan on PUHLENTY of new comics, OC art and fandom love in 2024. So stay tuned!
ciao, my saucy pigeons!
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therobotmonster · 7 months
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Any Questions?
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toodrawtothink · 5 months
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The company I work for, Make llc, is now using AI to generate backgrounds and imagery for our animated work. Our industry is normalizing the use of ai generated imagery which will vastly phase out the use of human artists to render artwork.
If you are aspiring to be a commercial artist I would strongly discourage going to school/college for any of it. Schooling will set you on average 100k+ in debt in an industry that nearly most animators will never see above 50-60k in yearly wages on the high end. Animation is a high debt, low income industry and it is only becoming more so.
My advice is to stay out of debt and ensure you have career/life-trajectory flexibility.
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shiftythrifting · 1 year
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I've seen this template before for grandmas, sisters, etc... but "dentists" is a first.
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wamnak · 10 months
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grundoonmgnx · 8 months
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Unknown artist from The Illustrated Book of Poultry by Lewis Wright
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stevelieber · 1 year
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A #protip thread for artists about working w/ commercial clients. Everything here is something I learned the hard way by screwing up and NOT doing it.
When you do client work for ad agencies, design studios, etc it’s important to establish PRECISELY what you're providing for the rate.
It helps to proceed as if your #commercialart clients understand NOTHING about what you do. In your contract or letter of agreement, specify sizes, dpi, format, layered files or flattened, the number of revisions included, and the schedule for each milestone.
Negotiate a rate for changes and rush work.
(#Comics is pretty much the only field where freelancers are not expected to charge a rush fee. We should all feel sour and resentful about this.)
When you sell the rights to use your work, you should ask where, how, how long, and in what quantities the work will be reproduced or displayed. The more rights they want, the longer they want them, the more it costs. An all rights buyout costs more than a one-time regional use.
And if the art director's boss changes his mind about any of these usages halfway through, guess what! They don't get to just have them for for free. Tape this response to your monitor:
"That's beyond the scope of our original agreement. We'll need to work out what that will cost."
Establish that you only take feedback from ONE point of contact- preferably an art director, or someone who understands visual communication.
The client may have lots of stakeholders, all with contradictory opinions. Your contact needs to reconcile these opposing viewpoints before giving you instructions.
Do as much via email as possible. If the art director insists on briefing you by phone, take detailed notes, and immediately send an email itemizing everything you discussed. This helps keep everyone on the same page, and the paper trail provides accountability.
The people who work at ad agencies and corporate offices aren't evil, but they're focused on their job, not yours. Your happiness is irrelevant to them, and to them your time has no intrinsic value. You need to be your own fierce advocate.
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sassafrasmoonshine · 5 months
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Alphonse Mucha (Czech, 1860-1939) • Biscuits Lefèvre-Utile • 1896 • Private collection
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thefugitivesaint · 11 months
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Esteban Maroto, 'Masters of the Universe' Source
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the-cricket-chirps · 16 hours
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Kellars Latest Wonder, Strobridge Lithograph, 1906
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scavengedluxury · 2 months
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Sainsbury's pet foods, 1976. From the Sainsbury Archive.
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uwmspeccoll · 1 year
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Decorative Sunday
A few months ago, I posted images from the first Graphis Annual, check out that post for some background on the early days of Graphis. Since that inaugural Graphis Annual in 1952/53, the Graphis family of publications has expanded to include a number of annual reviews, starting with the Graphis Photo Annual in 1966 and the Graphis Poster Annual in 1973. The images here are from the Design Annual 2022, published by Graphis Inc. in New York, NY. Graphis also now publishes annuals in advertising as well as a New Talent Annual highlighting exceptional student work.
It is interesting to compare more current Graphis Annuals with earlier ones, not only to note changes in aesthetic sensibility, but also to note the expansion of ambitious design work into areas like corporate annuals and/or environmental reports. The image above that looks like the cover of a manga, for example, is actually the annual report for Nissin Foods Holdings Co., LTD., a Japanese company that specialized in convenience foods like Cup Noodles (which I was very surprised to learn hasn’t been called Cup O’ Noodles since 1993 ... Mandela effect?). I was also pleased to see how much book design was featured in the annual, though I do admit to over-representing book design in my choices here. I just couldn’t help myself!
Find more Decorative Sunday posts here. 
-Olivia, Special Collections Graduate Intern
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adtothebone · 4 months
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Christmas goodies: A book on JC Leyendecker, known as the preeminent commercial artist/illustrator of his generation. His brother, FX Leyendecker, also found artistic success for a time, but ended up dying of a morphine overdose while living in Norman Rockwell’s garage.
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cartoonscientist · 7 months
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