A Phd in Daydreaming

Some Doodleboppin’ for a group project

Having a love for drawing with ballpoint pens I’ve probably made it impossible for me to ever get anything done in an office setting. This was supposed to be a grocery list.

lucybellwood:

I don’t often get on my Internet soapbox about artistic issues, but this comic deserves a bit of background. It’s part of a short conversation I had with my mother (a freelance writer and former cartoonist) a few months ago while working on an illustration job. I’m proud of how far I’ve come in the past year in terms of understanding my financial worth and being unafraid to charge money for what I do, but moments like this still leave me a trembling, anxious wreck. Money and creativity have a fraught relationship at the best of times, and somehow financial matters always manage to cut to the heart of many people’s insecurities. We often believe we’re worthless. That we’re frauds. That someone will come forward one of these days and expose us. It’s only a matter of time. Taking risks and charging a fair price for the services we offer opens us up for the ultimate confirmation of these fears. If someone refuses our price, we are indeed worthless.

Of course, this is a load of bullshit.

Charging people money for something you love doing shouldn’t be difficult, yet somehow it’s one of the greatest challenges facing new artists in the field. We’re steeped in mixed messages telling us that creativity is simultaneously priceless and worthless. “How hard can it be?” people ask, turning around in the same breath to babble about “talent” and “genius”. The attitude I encounter most often involves folks looking wistfully over my shoulder and saying “Oh, I could never do that” — as if drawing is some God-given jar of pixie dust rather than a craft honed over hundreds and thousands of hours. Conversely, onlookers or employers can be astounded at the amount of time and effort that goes into a job — “Surely it doesn’t take that long!” “But that’s so much work!”

How can we create a system where artists don’t have to overcome so many conflicting viewpoints simply in order to get paid for their work? Of course, a great deal rests on having the confidence to realize that self-worth and artistic worth are separate entities. Often it just takes guts to be calm and up-front about asking for your price. By being professional about our financial requirements, we set a precedent for other artists in the field. But it can be hard to know where to start. It’s a lesson I learn and re-learn every time I take on a new job or decide to increase my fees in relation to the amount of experience I’ve gained since starting out as a freelancer.

This is an awful lot of gabble for such a quick comic, but it’s an issue that’s really important to me, so I thought I’d share some of my thoughts. If anyone wants to read more, I’ve included some excellent links to other essays and blog posts on the subject. There’s a lot of great advice out there.

Jessica Hische: The Dark Art of Pricing

Katie Lane: Why You Should Raise Your Rates

Katie Lane: Be a Freelance Rock Star

Mike Monteiro: F*ck You, Pay Me

Good friend has good advice for good artists looking to feel good about selling their good art for good money.

cafiffle:

time to take things down a notch

Tomorrow is my last day with Boyfriend before he goes away and today I was helping him pack.  We had a big fight when he found a Thor hammer and shot me with it a bunch of times. (because it inexplicably shot things out the top) ((as any hammer would??))

Not pictured is the glorious sound effect the hammer makes when you press the rubber thingy shooting button.

I refuse to explain myself.

She’s a very patient kitty.