He escrito este post con pequeños consejos para crear un book de ilustración. Originalmente ha sido publicado en el blog Fucking Canvas que comparto con Esther Sanz, Vhea, Javier Charro, Nekro, y Medusa The Dollmaker. ¡¡No dejeis de visitarlo!!
Uno de los retos a los que te enfrentas en tus primeros pasos como ilustrador es como hacer tu book para enseñar en las editoriales. Es algo básico y es realmente sorprendente que no te lo enseñen en la Escuela de Arte (al menos en mi caso). En esta entrada voy a dejaros unas cuantas directrices, que quizás para algunos sean muy obvias, pero que a mi en su día me hubieran venido genial. Espero que os sean útiles :)
=====================================================================
One of the challenges you face in your first steps as an illustrator is how to create a book to show to publishers. It's really a must-have so I find it amazing that they don't teach how to make one at Art School (at least not in mine). I will leave you with a few guidelines in this post. They may sound very obvious to some, but I would have really benefitted from them back in the day. I hope they are useful for you :)
1. School´s out for the summer
¡Ole, ole, ole! Ya has terminado tus estudios de Arte y te dispones a maquetar tu primer book para buscar trabajo. Te sientas ilusionado frente a tus mejores trabajos de clase, aquellos que te dieron 9 y 10 y fueron aplaudidos por tus profesores... Y aqui cometes tu primer error como ilustrador...
No me pregunteis como, pero los editores y directores de arte tienen un sexto sentido para detectar cuando una ilustración es fruto de un trabajo de clase. ¿Que implica esto? Te delata, un book de trabajos de clase dice que estas más verde que una lechuga, que acabas de romper el cascarón y toda tu experiencia no es más que unos pasitos dentro del nido.
¿Como lo soluciono? Pues creando imágenes especificamente para tu book. Sin las directrices de un profesor, sin buscar nota. Las ventajas de este book que creas de cero frente al que recopila tus trabajos de clase son dos:
- La primera, es que realmente sacarás tu estilo, lo que realmente te gusta hacer y eso se nota en el trabajo final.
- La segunda, demuestras al editor que realmente estás interesado en que esto sea tu trabajo. Has dedicado tu tiempo en crear estas imàgenes solo para enseñárselas a el. No has aprovechado algo ya hecho y se lo has enviado. Parecerá una tontería, pero cuando algo se hace de cero da entender interés, compromiso, responsabilidad... Merece la pena ¿no?
=====================================================================
Go, go, go! You have just finished your art studies and you are ready to make your first book to look for work. You're excited about your best works from class, those that merited As and A+s and were applauded by your teachers... And that's when you make your first mistake as an illustrator...
Do not ask me how they do it, but editors and art directors have a sixth sense for knowing when a picture is a class assignment. What does this mean? It gives you away. A book comprised of class assignments marks you as been greener than grass, having just broken the shell, and says that all your experience is just a few little steps while still inside the nest.
How to fix it? Easy, just create images specifically for your book. Without the benefit of having a teacher guide you, and without looking for a grade. The advantages of this book that you're creating from scratch, as opposed to one which just collects your class assignments, are two:
- First off, you will really work in your own style, doing what you really enjoy doing, and that shows in the final work.
- Secondly, you show the editor you're really interested in making this your career. You have spent your own time creating these images only to show them to him. You have not just reused something you already had and sent it to him. It may seem silly, but when something is done from scratch that means you're investing effort, commitment, responsibility... That's worth it, right?
2. Dish nº 6: The happy family
Muy bien, te sientas en tu mesa y te pones a dibujar como un loco. Pero... ¿que dibujar? Te gusta hacer temática de fantasía, pero tu madre te dice que la ilustración infantil se te da bien y en clase eras un hacha haciendo diseños. Decides hacer un book donde se vea lo versatil que eres... Mal otra vez, acabas de hacer un book "Familia feliz".
¿Porque es malo un book variado? Primero dejar claro que ser versatil no es malo, todo lo contrario; pero sí es perjudicial mezclarlo todo. Al editor que le llegue tu book lo vas a dejar bizco. No va a saber cuáles son tus puntos fuertes, verá un poco de fantasía, una pizca de infantil, otra de cómic... Y no va a saber dónde meterte, ni dónde encajas, porque no ha visto lo suficiente de tu trabajo.
Céntrate.
=====================================================================
Okay, you're sitting at your table and you start to draw like a madman. But... What to draw? You like to draw fantasy, but your mother says you're very good at child's illustrations and you were very good making designs at class. You decide to make a book where you show off just how versatile you are... Wrong again, you just made a "Happy family" book.
Why is making a diverse book bad? First let me make it clear that being versatile is not a bad thing, quite the opposite; but it is bad to just mix it all. The publisher that gets your book won't make heads or tails out of it. He won't know what you're best at, he will just see a little fantasy, a pinch of children's books, some comic books... And he won't know how to classify you, where you fit, because he will not have seen enough of your work.
Focus.
3. The Ace of Spades
Muy bien, ya has aprendido que cada cosa requiere su book. No vas a volver a hacer un "Familia Feliz". Ahora tienes un book para cada rama de la ilustración dónde quieres buscar trabajo. Pero queda un pequeño detalle, el as en la manga.
Normalmente, los books suelen contener de cinco a diez imágenes. No te limites solo a hacer el cupo y cruzarte de brazos. Si le interesas al editor probablemente querrá ver más ¿y entonces que le vas a enseñar? Trabaja dos o tres ilustraciones más que tendrás en reserva si quieren ver más.
=====================================================================
Okay, you've learned that every separate thing requires its own book. You won't be making a "Happy Family" book again. Now you have a different book for each branch of the illustration business where you want to look for a job. But there's still a little something, the ace up your sleeve.
Typically, books are usually made up of five to ten images. Don't just meet the quota, sit back and relax. If the editor's interested in you he'll probably want to see more. What will you show him then? Have two or three more illustrations in stock in case they want to see more.
Esto son unas directrices generales. Si estáis interesados en una editorial o empresa de videjuegos concreta, entonces visitad su web. Si aceptan submissions probablemente den unas directrices determinadas sobre cómo y de qué manera quieren recibir los books.
Mi última aportación a este post es decirte que no esperes a hacer la ilustración perfecta para preprar tu book. Trabaja y ve haciendo, ya mejorás. Lo importante es ir haciendote una cartera de clientes e ir abriéndote un hueco. Quizás no consigas trabajar de primeras para Blizzard, pero cada pequeño encargo será un escalón que te acerque a dónde quieres llegar. ¡¡Muchos ánimos y no desesperéis!!
Pequeñas notas de mis compis de FC:
Medusa : Intentad no repetir estilos de ilustradores actuales, probad a crear un universo propio, ¿porque le va interesar a un editor un producto que ya tiene?
Esther :La presentación es muy importante, no escatimes en impresiones, papeles y encuadernaciones algo más caras, la primera impresión del editor es muy importante. Pon siempre tu información de contacto clara y precisa, al igual que tu currículum adjunto, ya que al editor no le interesa si hiciste prácticas en una fotocopiadora, indica tus publicaciones y experiencia como ilustrador de forma lo más esquematizada posible. Tambien es recomendable que hagas books de buena presentación pero de "vistazo rápido" que el editor pueda llevarse a su oficina para mirarlo con más calma
=====================================================================
These are just some general guidelines. If you're interested in a particular publishing house or video games company, then you should visit their website. If they accept submissions, they are probably going to be giving specific guidelines on how they want to receive books and how they should be formatted.
My last contribution to this post is to tell you not to wait until you make the perfect illustration for making your book. Keep working, you will improve with time. The important thing here is to create a customer base and make a place for yourself. You may not get to work for Blizzard at first, but every little job will take you one step closer to where you want to be. Courage and despair not!!
A few notes from my co-FC:
Medusa: Try not to copy the styles of current illustrators, try instead to create your own universe. Why would a publisher be interested in a product he already has?
Esther: Looks are very important, do not skimp on printing, paper and binding prices, the editor's first impression is very important. Always state your contact info clearly and place it somewhere easily found, and remember to attach your resume. Also, the editor is not interested in whether you did your internship in a print shop, just list your publications and your experience as an illustrator in as short a way as possible. It is also recommended that you make books that look good but that can be looked over quickly, so that the editor can take them to his office for a more indepth look.
Uno de los retos a los que te enfrentas en tus primeros pasos como ilustrador es como hacer tu book para enseñar en las editoriales. Es algo básico y es realmente sorprendente que no te lo enseñen en la Escuela de Arte (al menos en mi caso). En esta entrada voy a dejaros unas cuantas directrices, que quizás para algunos sean muy obvias, pero que a mi en su día me hubieran venido genial. Espero que os sean útiles :)
=====================================================================
One of the challenges you face in your first steps as an illustrator is how to create a book to show to publishers. It's really a must-have so I find it amazing that they don't teach how to make one at Art School (at least not in mine). I will leave you with a few guidelines in this post. They may sound very obvious to some, but I would have really benefitted from them back in the day. I hope they are useful for you :)
1. School´s out for the summer
¡Ole, ole, ole! Ya has terminado tus estudios de Arte y te dispones a maquetar tu primer book para buscar trabajo. Te sientas ilusionado frente a tus mejores trabajos de clase, aquellos que te dieron 9 y 10 y fueron aplaudidos por tus profesores... Y aqui cometes tu primer error como ilustrador...
No me pregunteis como, pero los editores y directores de arte tienen un sexto sentido para detectar cuando una ilustración es fruto de un trabajo de clase. ¿Que implica esto? Te delata, un book de trabajos de clase dice que estas más verde que una lechuga, que acabas de romper el cascarón y toda tu experiencia no es más que unos pasitos dentro del nido.
¿Como lo soluciono? Pues creando imágenes especificamente para tu book. Sin las directrices de un profesor, sin buscar nota. Las ventajas de este book que creas de cero frente al que recopila tus trabajos de clase son dos:
- La primera, es que realmente sacarás tu estilo, lo que realmente te gusta hacer y eso se nota en el trabajo final.
- La segunda, demuestras al editor que realmente estás interesado en que esto sea tu trabajo. Has dedicado tu tiempo en crear estas imàgenes solo para enseñárselas a el. No has aprovechado algo ya hecho y se lo has enviado. Parecerá una tontería, pero cuando algo se hace de cero da entender interés, compromiso, responsabilidad... Merece la pena ¿no?
=====================================================================
Go, go, go! You have just finished your art studies and you are ready to make your first book to look for work. You're excited about your best works from class, those that merited As and A+s and were applauded by your teachers... And that's when you make your first mistake as an illustrator...
Do not ask me how they do it, but editors and art directors have a sixth sense for knowing when a picture is a class assignment. What does this mean? It gives you away. A book comprised of class assignments marks you as been greener than grass, having just broken the shell, and says that all your experience is just a few little steps while still inside the nest.
How to fix it? Easy, just create images specifically for your book. Without the benefit of having a teacher guide you, and without looking for a grade. The advantages of this book that you're creating from scratch, as opposed to one which just collects your class assignments, are two:
- First off, you will really work in your own style, doing what you really enjoy doing, and that shows in the final work.
- Secondly, you show the editor you're really interested in making this your career. You have spent your own time creating these images only to show them to him. You have not just reused something you already had and sent it to him. It may seem silly, but when something is done from scratch that means you're investing effort, commitment, responsibility... That's worth it, right?
A reaaly, really old artwork, when I was a student!!
2. Dish nº 6: The happy family
Muy bien, te sientas en tu mesa y te pones a dibujar como un loco. Pero... ¿que dibujar? Te gusta hacer temática de fantasía, pero tu madre te dice que la ilustración infantil se te da bien y en clase eras un hacha haciendo diseños. Decides hacer un book donde se vea lo versatil que eres... Mal otra vez, acabas de hacer un book "Familia feliz".
¿Porque es malo un book variado? Primero dejar claro que ser versatil no es malo, todo lo contrario; pero sí es perjudicial mezclarlo todo. Al editor que le llegue tu book lo vas a dejar bizco. No va a saber cuáles son tus puntos fuertes, verá un poco de fantasía, una pizca de infantil, otra de cómic... Y no va a saber dónde meterte, ni dónde encajas, porque no ha visto lo suficiente de tu trabajo.
Céntrate.
=====================================================================
Okay, you're sitting at your table and you start to draw like a madman. But... What to draw? You like to draw fantasy, but your mother says you're very good at child's illustrations and you were very good making designs at class. You decide to make a book where you show off just how versatile you are... Wrong again, you just made a "Happy family" book.
Why is making a diverse book bad? First let me make it clear that being versatile is not a bad thing, quite the opposite; but it is bad to just mix it all. The publisher that gets your book won't make heads or tails out of it. He won't know what you're best at, he will just see a little fantasy, a pinch of children's books, some comic books... And he won't know how to classify you, where you fit, because he will not have seen enough of your work.
Focus.
Daily menu, a happy family book
3. The Ace of Spades
Muy bien, ya has aprendido que cada cosa requiere su book. No vas a volver a hacer un "Familia Feliz". Ahora tienes un book para cada rama de la ilustración dónde quieres buscar trabajo. Pero queda un pequeño detalle, el as en la manga.
Normalmente, los books suelen contener de cinco a diez imágenes. No te limites solo a hacer el cupo y cruzarte de brazos. Si le interesas al editor probablemente querrá ver más ¿y entonces que le vas a enseñar? Trabaja dos o tres ilustraciones más que tendrás en reserva si quieren ver más.
=====================================================================
Okay, you've learned that every separate thing requires its own book. You won't be making a "Happy Family" book again. Now you have a different book for each branch of the illustration business where you want to look for a job. But there's still a little something, the ace up your sleeve.
Typically, books are usually made up of five to ten images. Don't just meet the quota, sit back and relax. If the editor's interested in you he'll probably want to see more. What will you show him then? Have two or three more illustrations in stock in case they want to see more.
Looks better, doesn´t it?
NotesEsto son unas directrices generales. Si estáis interesados en una editorial o empresa de videjuegos concreta, entonces visitad su web. Si aceptan submissions probablemente den unas directrices determinadas sobre cómo y de qué manera quieren recibir los books.
Mi última aportación a este post es decirte que no esperes a hacer la ilustración perfecta para preprar tu book. Trabaja y ve haciendo, ya mejorás. Lo importante es ir haciendote una cartera de clientes e ir abriéndote un hueco. Quizás no consigas trabajar de primeras para Blizzard, pero cada pequeño encargo será un escalón que te acerque a dónde quieres llegar. ¡¡Muchos ánimos y no desesperéis!!
Pequeñas notas de mis compis de FC:
Medusa : Intentad no repetir estilos de ilustradores actuales, probad a crear un universo propio, ¿porque le va interesar a un editor un producto que ya tiene?
Esther :La presentación es muy importante, no escatimes en impresiones, papeles y encuadernaciones algo más caras, la primera impresión del editor es muy importante. Pon siempre tu información de contacto clara y precisa, al igual que tu currículum adjunto, ya que al editor no le interesa si hiciste prácticas en una fotocopiadora, indica tus publicaciones y experiencia como ilustrador de forma lo más esquematizada posible. Tambien es recomendable que hagas books de buena presentación pero de "vistazo rápido" que el editor pueda llevarse a su oficina para mirarlo con más calma
=====================================================================
These are just some general guidelines. If you're interested in a particular publishing house or video games company, then you should visit their website. If they accept submissions, they are probably going to be giving specific guidelines on how they want to receive books and how they should be formatted.
My last contribution to this post is to tell you not to wait until you make the perfect illustration for making your book. Keep working, you will improve with time. The important thing here is to create a customer base and make a place for yourself. You may not get to work for Blizzard at first, but every little job will take you one step closer to where you want to be. Courage and despair not!!
A few notes from my co-FC:
Medusa: Try not to copy the styles of current illustrators, try instead to create your own universe. Why would a publisher be interested in a product he already has?
Esther: Looks are very important, do not skimp on printing, paper and binding prices, the editor's first impression is very important. Always state your contact info clearly and place it somewhere easily found, and remember to attach your resume. Also, the editor is not interested in whether you did your internship in a print shop, just list your publications and your experience as an illustrator in as short a way as possible. It is also recommended that you make books that look good but that can be looked over quickly, so that the editor can take them to his office for a more indepth look.
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