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Design Tribe Podcast
77 minutes | Oct 12, 2021
Get Your Art in Retail Stores w/ Jenna Rainey + Julie Turkel
In this episode of the Design Tribe podcast, I'm chatting with Jenna Rainey and Julie Turkel about how to get your art in retail stores + so much more! Jenna Rainey is a successful licensed artist with an incredible YouTube channel with over 120K subscribers. She provides tutorials for illustrators, calligraphers, and watercolor artists. Jenna has collaborated with brands like Papyrus, Anchor Brewing Company, and Target! Website: https://jennarainey.com/ YouTube Channel: https://www.youtube.com/channel/UCqWj... Julie Turkel is a licensing agent who started at Nickelodeon, building the brand collab business from the inside out. Julie left Nickelodeon to then go on to represent Jonathan Adler, Nate Berkus, Dabney Lee and Jenna (among a few others). After 25 years in the business, her expertise is in brand licensing and she and Jenna have a unique experience working together on fun projects like a calendar line in Staples, a collection with Toki Mats for baby mats and more! During the livestream, we discussed: - How to get your foot in the door and products on the shelves of retail stores - How to build a profitable licensing business - What is licensing (brand collaboration) and is it for you? - What getting your work in Staples, Target and big box retailers really looks like - Trend Research and Informative Research to help with developing your signature style and strategy as a creative entrepreneur - Key elements to building a brand that everyone must know ➡️ Take my FREE MINI COURSE, Art Style Secrets: 1.) Subscribe to my Channel 2.) Like this Video 3.) Click the link below 👇 https://bit.ly/2UitNqB . ➡️ Get my 2022 Trend Guide: https://www.laurenlesley.com/trend-2022 🤓RESOURCES: https://www.laurenlesley.com/resources ART SUPPLIES http://bit.ly/2H4z8uc BOOKS http://bit.ly/2J2DeGF DESIGN TOOLS http://bit.ly/2DS7PTo SKILLSHARE CLASSES **Get 2 weeks free!!** https://www.skillshare.com/r/user/lau... YOUTUBE EQUIPMENT http://bit.ly/2V4nnsI 🔴 Be sure to SUBSCRIBE + click the bell 🔔 for more design tutorials, business tips + creative strategies: http://bit.ly/2LGqRNE
32 minutes | Sep 28, 2021
Q+A: Surface Pattern Design (Ask Me Anything w/ Mya)
➡️ Join my free mini course, Art Style Secrets: https://www.laurenlesley.com/sign-ups-art-style-secrets 🎧 LISTEN TO THE DESIGN TRIBE PODCAST: ⭐️ Be sure to leave a rating + a review! iTunes: https://apple.co/2xZIPsy Spotify: https://spoti.fi/2LHe2TB 📲🤳🏻 SHARE IN YOUR IG STORIES + TAG ME: http://instagram.com/laurenlesleystudio #laurenlesleystudio
70 minutes | Sep 14, 2021
How To Price Your Art w/ Katie & Ilana from Loomier
➡️ Get your copy of Price With Purpose: Click here to get your copy.* 🎧 LISTEN TO THE DESIGN TRIBE PODCAST: ⭐️ Be sure to leave a rating + a review! iTunes: https://apple.co/2xZIPsy Spotify: https://spoti.fi/2LHe2TB 📲🤳🏻 SHARE IN YOUR IG STORIES + TAG ME: http://instagram.com/laurenlesleystudio #laurenlesleystudio *Affiliate links.
21 minutes | Aug 10, 2021
Design Trends for 2022 - Surface Pattern Design, Textile Design, and Illustration
➡️ Get your copy of my 2022 Trend Guide: https://www.laurenlesley.com/trend-2022 🎧 LISTEN TO THE DESIGN TRIBE PODCAST: ⭐️ Be sure to leave a rating + a review! iTunes: https://apple.co/2xZIPsy Spotify: https://spoti.fi/2LHe2TB 📲🤳🏻 SHARE IN YOUR IG STORIES + TAG ME: http://instagram.com/laurenlesleystudio #laurenlesleystudio TRANSCRIPT: Speaker 2 (00:06): Hey, what's up. Y'all I'm here in beautiful Atlanta. And today I wanted to talk to you about trends. I'm currently in a deep dive of trend research for 2022 and wanted to let you know that I've got several pre-order discounts going on for my 2022 trend guide, plus a live workshop for those of you who sign up early, just head over to my email@example.com and click on trend. Leslie is spelled with an E Y and join my email list to get the next discount. All right, thanks for listening to the design drive. Let's start the episode. Speaker 3 (00:44): Okay. So why are trans important? I think this is the first question we should start out with because there are designers out there who really hate trends and they don't think trends are important. They have no interest in following them. They maybe see trends as being cheap and too commercial or, you know, kind of like it kind of like you lose yourself as a designer. If you're chasing trends all the time, you don't really have sort of this aesthetic that defines your own brand. But to me, I really see trends as art. Especially when you are looking at runway shows and some of the, you know, beginning stages of where these trends are developing. And I mean, it really is art. And I know that these things have a commercial use and that the trends are going to kind of push sales for a lot of products. Speaker 3 (01:41): Right. And, you know, I understand why people will see that as you know, oh, it's a gimmick or it's a sales tactic, but the thing is of that transit sell for a reason. And it's because they're inspiring. And I don't think that these two concepts are mutually exclusive, right? Like I don't think that just because something sells well, it's automatically not art or it's automatically cheap, right. Just because it's commercial, it doesn't mean that it's not a really amazing and deep and valuable. And so I think that, you know, when you really start to dive into the beginning stages of how these concepts come about from the designer's imagination, right. And the experimentation, and, you know, putting together kind of insane materials. And in ways that, you know, to the current mainstream would seem crazy. Like if you look at a lot of runway trends, they seem kind of nuts and it's because they are exaggerated it's because it is a place where, you know, clothes and apparel and design ideas can be whatever they want because they aren't actually going to be selling in this form. Speaker 3 (02:52): Right. The life cycle of a trend is that it starts out on something like their runway and it's really wild and really crazy. And then retailers kind of tend to the Trinity retailers tend to be the first ones to jump on that trend, but they water it down a bit. Right. It's not like you're going into a trendy store and seeing the exact same thing that you would have seen in runway fashion. So it's watered down a little bit and it's made more digestible for the average consumer. And then you have, you know, stores and retail brands that are, you know, kinda in the middle there, they're not super Trinity, but you know, they, they see these Trinity stores and they see that, oh you know, proof of concept, right. That people are actually buying these things. So, all right, maybe we'll dabble. Speaker 3 (03:42): Maybe we'll stick our toe in the water and we'll try this trend. It's a little scary, but we'll try it. And then, you know, those stores, they start selling and, you know, people love it and more and more people jump on the trend. And when more people see that other people are wearing X, Y, Z, or have this kind of trend in their home with its home decor, you know, whatever the category is, then they're like, oh, well, if these people can, can pull it off, then I can pull it off. I think I can pull it off now because I've seen it enough times. Right. And then the mass market stores are like, oh, everyone's behind this trend. So we need to sell it. And then that's when the Walmarts and the Sam's clubs and sort of middle America adopts the trend. And then the market gets really saturated, right? Speaker 3 (04:30): It, it gets kind of overwhelmed by this trend and then it's not special anymore. Once the market is oversaturated, then it's not special anymore. And that's when the trend, you know, it can coast for a few years. Sometimes it depends on the trend. Every trend will have its own life cycle. We can't say a trend lasts for exactly one season or it lasts for exactly three years. Like some trends last longer than others. But once we see the market gets saturated and sales start to dip, then we kind of know it's not special anymore. It's not fashion forward. It's not exciting. It's not holy crap. Like only, only something you would see people wearing in New York city. Right. And so that's when we see the trend to start to die off. And it kind of just becomes this, this mountain curve where it starts out slow. Speaker 3 (05:22): Only the trendiest stores are, are willing to put it in and try it out. And then when it really gets into the mass market stores and starts to saturate the market, that's the peak, right. And we don't know how long that peak is going to last. It can again, coast for awhile, but after that, it starts to decline and dipped out. And that's when you start to see it and like clearance stores and things like that. And so that's sort of the life cycle as a trend. But going back to the question are trends important. I think trends are so important. And I think that when people see trans as only being a means to sell or they own, they only see trends as, you know, cheap or commercial or not really worth paying attention to, I think they're kind of missing the point because trans really define our time. Speaker 3 (06:13): Right. I mean, imagine if you couldn't tell the difference between 70 1970s fashion and 1920s fashion, what if it all looked the same, which is kind of like the way things looked, you know, throughout the 17 hundreds or throughout the 18 hundreds, like trends happened, but very, very, very slowly. And once we hit the 20th century, that's when things get a lot more interesting and we're able to, you know, really separate the decades by fashion and by trend. And so trends are important because they define you. They define where you are in this life, in this decade. And we all get to decide that, and I want to share a little quote from Matthew Smith that says either embrace trends or define them, but never complain about them. And I think that's so true because trends are what they are. And they're kind of magical trends really are defining the present era that we're all living in. Speaker 3 (07:16): And that's what will kind of put us in the history. But so it's kind of what we'll be remembered for, you know, other than, you know, major historical events. But that's how, you know, our look, our fascia and that's how we'll be kind of looked on in an historic way. And they allow us to define ourselves and kind of to eternalize ourselves in this recognizable aesthetic. And what's really cool about that is that as designers, we get to be a part of that. So I would say we should all appreciate trends. Right? another thing that designers are sometimes concerned about is that they'll lose their individuality. If they focus on trans, you know, they're worried that this brand that they've built for themselves or, you know, the thing that they're known for is going to disappear if they chase every trend. Speaker 3 (08:04): And I think that that is true and also false. And so let me explain that for a second. I think that you have to know as a designer, when to be discerning and when a trend is not for you and not every trend is going to be for you and that's okay. However, some trends will fall into your brand. They will fall into the industry that you're targeting, right. If elephants are really trendy in baby decor this season that might not really apply to me if I'm designing rugs, especially if they are area rugs that are not for children, right. That's not going to help me very much. And so you obviously have to focus on the industry, make sure that it's relevant to the audience and the consumers that you're targeting with your designs. And with that being said, I think that if you've developed your own art style, then you don't have to deviate from that in order to follow a trend. Speaker 3 (09:05): Right? So back when I got my very first in-house job in textile design, I was the licensing coordinator and designer for our license or a Candace Olson. And if you're familiar with home decor, she was a big name, one of the first big, big shows on HDTV. And yeah, she was really big and she had a very established brand in a very established aesthetic. And this was back in 2012 when Chevron was all the rage, Chevron was starting to pick up, it was everywhere. It was selling really big. And she was a designer who was kind of like, eh, like Chevron's not really my look, you know, like she didn't do geometrics. She was very transitional, had various soft color palettes and this and that. However, she decided because it was selling so much and it was such a big trend to do her own version of Chevron. Speaker 3 (09:59): That was kind of this soft Chevron, right. It wasn't too, it wasn't a two color, hard-lined a pointy Chevron. It was a very kind of organic Chevron with multicolors and soft colors that kind of blended together and used sort of this blended yarn. And she just, she made it her own. And so if you do have a very established art style and an established brand, I'm not saying to deviate from that, I am saying that you can jump on a trend early and you can stand to make a lot of money if you're going to ride that wave. Right. Remember the mountain graphic we kind of talked about and how it starts out just at this small incline. And then it starts to really take off and sales just increase and increase and increase until you hit that peak. But if you wait until the trend hits the peak, then you're going to be kind of out of luck, you know, unless it's a trend that just goes on and on and on and on and on, and we can't get rid of it, which does happen with some trends, but it's better to get on the trend really, really early. Speaker 3 (11:04): Because if you catch the trend early, then you can really ride that wave and your designs are going to be already done. They're going to be done and ready to sell by the time the wave really crests right and hits its peak. And so my point in saying all of this is that you don't have to lose your individuality by focusing on trends. Oftentimes I like to think of trends as a particular subject matter. So if let's say butterflies are trending in print and pattern design, then how am I going to draw butterflies in a way that's in my style in a way that's different from other artists or from what I've seen already, how can I interpret this butterfly trend? Maybe I look at the pattern that's in the wing of the butterfly and I recreate that pattern and I'm actually drawing individual butterflies, or maybe I'm drawing butterflies in pen and ink in a way that's, you know, stylistically relevant to me or relevant to my industry. And so there isn't any need to be afraid of trends in terms of losing your individuality. I think it's a way to express your individuality through a certain subject matter. Speaker 3 (12:20): Yeah. I just wanted to take a quick break to let you know that I'm currently taking pre-orders for the 2022 trend guide. If that sounds like something you'd be interested in head over to Lauren leslie.com. Remember Leslie is spelled with an E Y and click on trend to sign up for my email list and get the next discount. All right. That's it. Let's dive back in. I know some of you are probably wondering, well, what are the transfer 2022. So let's talk about some of them. Okay. So one of the first things I'm really noticing is that we're moving away from cool neutrals, especially grays and, and especially in home decor. So in apparel, you know, it's not really so predominant, but in home decor, people love their neutrals because you're making a bigger investment. It's going to be something you're going to have around for a long time. Speaker 3 (13:14): Generally speaking, if you're investing in a sofa or an area rug or wall color, you know, it's not something you necessarily want to change out every year. And so trends in home decor tend to last a little bit longer, especially the neutrals. And back in 2012, when I got my first in-house job as a textile designer, it's like the Browns were out right. And gray was all the rage. It was fresh. It was cool. It was, it was just hot, you know, it was trendy. And then the market got saturated with grays and it's coasted for a while because it is a neutral, it's not too upsetting. It's not anything that's going to rock the boat too much. Right. But I'm starting to see now a shift back to warmer neutrals. And I don't think we're quite at the chocolates yet, but I think the tans, the beiges the sort of the sort of white desert type of looks are coming in. Speaker 3 (14:12): And I love it. I'm I'm ready for it. Right. Because we've had a gray for a while now, we've had a lot of gray. And so I don't know that home decor is quite there yet. Again, home decor tends to follow fashion and apparel. So we're going to see brand new trends come out and fashion and apparel first, and then home decor generally follows that. And so I'm seeing a lot of warmer neutrals and I'm personally really excited about it. Back in 2020 when I was buying sweatpants, I was like, Hmm, I think I'm going to go for these beige sweatpants. That looks kind of fresh. Haven't seen that in a while. And so, you know, it's starting to happen. I'm also seeing a lot of pastels and pastels are not something that's brand new to this trend season. However, I do want to discuss how trends kind of evolve and the evolution of trends. Speaker 3 (15:06): And so I remember several years ago when millennial pink kind of first made its appearance and especially working in home decor, my, my managers, my bosses were like, no, we're not doing millennial pink. Right? Like they just, they remembered when pink was really big in the eighties and then it was out for so, so, so long that they were like, I don't trust this. This is a fad instead of a trend it's gonna, it's gonna sell quick and short and no, one's, it's not going to catch on. And holy crap, a few years later, my art director was like, you know, I really thought millennial pink was going to be short-lived and it's still here. And that was a few years ago. And I make that point because pink is still, it's still relevant, you know, and, and certain industries are going to have different interpretations of millennial pink home decor is going to be more muted and more dulled down, especially if it's, you know, a wall color, you know, a throw pillow can get away with being a little more exciting, but in home decor things have to be livable, right? Speaker 3 (16:11): In fashion, we can be wild and in a throw pillow or something small, that's easy to change out. We can be a little bit more fun and wild, but millennial pink, this is a good example of how a trend has evolved, because now I'm starting to see more lavender come out and more combinations of sort of this millennial pink that shifted into sort of these pinkish purples. And I love seeing that. And, and we've also seen it kind of become its own neutral in terms of it's dulled down enough, it's a little bit orangy. It's almost this bisque pink or a pink that you would see in an actual blush in makeup or paired in kind of some of these desert types of looks. And so we've seen the millennial pink evolve and shift, and it's really exciting to see it change. I'm also noticing in terms of color, some sort of ice cream colors that are again, kind of in that same, you know, playground of pastels, but they're a little bit darker and they're a little bit duller and that's really fun to see as well. Speaker 3 (17:16): It's again, just something you would kind of see in an ice cream or in, in the outside of buildings that are maybe interpreted as a little bit out ish. It's sort of this powdered or chalky pastel color. Again, that's a little bit darker, a little bit less Eastery, if you will. I'm also seeing a lot of plaids and I've created one mood board in my trend guide called a picnic party. And so you'll have to actually buy the trend guide to be able to see what I'm talking about, but picnic plaids are another trend that I'm seeing quite a lot. Mushrooms is another one, and I'm seeing mushrooms everywhere. I'm seeing mushrooms, not just in fashion, but also in like health articles, like just the topic of mushrooms and how they benefit your health. And, you know, whether some cultures are kind of pro mushroom cultures or pro fungus fungi cultures, I guess, and you know, how kind of the us and some of the Western countries are sort of anti mushroom or antifungal guy cultures. Speaker 3 (18:22): And it's true. I mean, growing up, I hated my shoes. I hated the texture. I still don't really love the texture to be honest. I like the flavor, but you know, some, some cultures are just more more inclined to be a mushroom culture, I guess, in their foods. And so fashion has sort of latched on to that as well. And I'm seeing, you know, types of mushroom prints. I'm seeing mushrooms being illustrated. I'm seeing sort of the textures and mushrooms being replicated as well. So mushrooms is another really big trend for 2022 and that's one to pay attention to. So another trend that I've seen evolve quite a bit has been this tropical trend, or sometimes sort of also a jungle type of trend. And we've seen this trend kind of expand and explode and evolve into sort of different branches off of coming off of this trend, if you will. Speaker 3 (19:18): And so in the past, we've seen a lot of big cats. I think big cats are going to continue to sell, but you know, it's not a brand new trend anymore. So I think that this trend is continuing to evolve. And I think that we're going to see the focus shift onto some other kind of jungle safari type of animals. And I'm not going to say which ones, because I want you to buy the trend guide. I've done a ton of work and I've put a ton of hours into doing all this research for you so that you can save time. And so that you don't have to. And of course you can do your own trend research if you like. There's no pressure, but if you're interested in trends, I hope that you will at least take a look and join my email list to get a good discount. Speaker 3 (20:05): Hey, I hope you learned so much from this discussion on trans today. Be sure to follow me over on Instagram at Lauren Leslie studio. And don't forget to check out the show notes to get the link to my 2022 trend guide. If for some reason you can't find it, just shoot me an email firstname.lastname@example.org. Make sure to leave a rating and review. And if you're willing to give this episode just a little extra love, take a screenshot on your phone and share the episode over on your Instagram stories. It would literally mean the world to me. And you can tag me at Lauren Leslie studio. I love you so much. And I hope this episode gave you a tons of insights for how to use trends to maximize your profits in 2020. You too. Speaker 1 (20:47): All right guys. See you next time. Bye.
42 minutes | Mar 2, 2021
Selling On Patternbank w/ Neil Elliott (pt. 2)
How do you sell on Patternbank successfully? What do successful pattern designers do differently? Neil Elliott from Patternbank gives us tons of tips for Patternbank success! ➡️ FREE TRAINING in Textile Design: 🎧 Subscribe Rating & Review 👉 http://bit.ly/2JkxdnE ➡️ FREE Art Style Secrets mini course: 🎧. Subscribe Rating & Review 👉 https://bit.ly/2UitNqB Questions asked: Could you please introduce yourself and tell us a little of Patternbank’s history? Could you please explain the process to signing up for Patternbank and getting started? (A lot of designers had questions about their file submissions, things like that.) Can you please explain the different types of licenses available to buyers on Patternbank and what they mean for the artist? Patternbank includes some amazing trend insights. How important is it for artists to follow these trends? In general, do your stats confirm that these trends sell better on your site overall? Which categories are considered classic and always sell well? Florals, textured prints, etc? Your trend page includes SS and FW trends. When is the best time of year for artists to be uploading designs for an upcoming season? How often should designers be uploading new patterns? Are designs shown in chronological order or is there an algorithm? It would be amazing for artists to be able to see new keywords clients are searching for. How would you describe patterns that look the most commercial? What characteristics do they have? Your newsletter suggests that designers edit, update, & delete designs. Can you explain why that should be a priority for artists and how it may affect their sales? What percentage of Patternbank customers are in the Fashion industry? Home Décor, Stationery, Accessories? What / who is the biggest industry buying on Patternbank? Do Premium Designs or Standard Designs sell better overall? When a design sells, what percentage goes to the artist and what percentage goes to Patternbank? When an artist uploads their designs to Patternbank under the Standard License, can they sell the design on other platforms? When an artist sells a design, they’re able to see who the client is and click on the client’s profile. However, there isn’t any further information or way for the artist to follow up with the client. Does Patternbank plan to add any functionality here? Would it be beneficial to strengthen relationships between clients and artists who fit their aesthetic needs? Do you have any tips or advice on the quality of design uploads? How important are extra assets to clients? Unfortunately, they cannot preview extra assets such as original drawings, color ways, etc, so does it really affect their buying decision? Should artists be working with Pantone colors? What color mode is recommended? RGB, Hex Code, CMYK? How does Social Media play a role? If an artist uploads a new design to Patternbank - is that enough? Or should they share it on social media, too? If yes, which channels and how often? Please explain. According to your data, do vector or raster files sell better on Patternbank? Or does it matter? Does Patternbank only accept repeat patterns or can artists also upload placement prints? For example, I used to be an in-house Textile Designer and I designed a lot of rugs and pillows that had placement prints. In fact, my Art Director would often give the criticism that a rug designed looked “too much like fabric,” which meant repeats were not ideal for a rug design. Other artists may wonder if they could ever sell an illustration that included several supporting or blender patterns on Patternbank to accommodate different markets? The wonderful thing about Patternbank is that artists don’t have to make the big investment up front to go to a trade show to meet clients. That can be really expensive and can take a lot of time to see a positive ROI. The down side for artists is that they remain somewhat anonymous on the site. In a traditional licensing contract, an artist can negotiate to have their name or brand on any product using their art. Companies like Anthropologie or Target will often do an artist spotlight with an entire collection of products with the artist’s work. Would Patternbank ever consider adding a License that gave the artist a little more exposure to the end consumer, both retail and E-Commerce worlds?
46 minutes | Feb 23, 2021
Selling On Patternbank w/ Neil Elliott (pt. 1)
How do you sell on Patternbank successfully? What do successful pattern designers do differently? Neil Elliott from Patternbank gives us tons of tips for Patternbank success! ➡️ FREE TRAINING in Textile Design: 🎧 Subscribe Rating & Review 👉 http://bit.ly/2JkxdnE ➡️ FREE Art Style Secrets mini course: 🎧. Subscribe Rating & Review 👉 https://bit.ly/2UitNqB Questions asked: Could you please introduce yourself and tell us a little of Patternbank’s history? Could you please explain the process to signing up for Patternbank and getting started? (A lot of designers had questions about their file submissions, things like that.) Can you please explain the different types of licenses available to buyers on Patternbank and what they mean for the artist? Patternbank includes some amazing trend insights. How important is it for artists to follow these trends? In general, do your stats confirm that these trends sell better on your site overall?Which categories are considered classic and always sell well? Florals, textured prints, etc? Your trend page includes SS and FW trends. When is the best time of year for artists to be uploading designs for an upcoming season? How often should designers be uploading new patterns? Are designs shown in chronological order or is there an algorithm?It would be amazing for artists to be able to see new keywords clients are searching for. How would you describe patterns that look the most commercial? What characteristics do they have? Your newsletter suggests that designers edit, update, & delete designs. Can you explain why that should be a priority for artists and how it may affect their sales? What percentage of Patternbank customers are in the Fashion industry? Home Décor, Stationery, Accessories? What / who is the biggest industry buying on Patternbank? Do Premium Designs or Standard Designs sell better overall? When a design sells, what percentage goes to the artist and what percentage goes to Patternbank? When an artist uploads their designs to Patternbank under the Standard License, can they sell the design on other platforms? When an artist sells a design, they’re able to see who the client is and click on the client’s profile. However, there isn’t any further information or way for the artist to follow up with the client. Does Patternbank plan to add any functionality here? Would it be beneficial to strengthen relationships between clients and artists who fit their aesthetic needs? Do you have any tips or advice on the quality of design uploads? How important are extra assets to clients? Unfortunately, they cannot preview extra assets such as original drawings, color ways, etc, so does it really affect their buying decision? Should artists be working with Pantone colors? What color mode is recommended? RGB, Hex Code, CMYK? How does Social Media play a role? If an artist uploads a new design to Patternbank - is that enough? Or should they share it on social media, too? If yes, which channels and how often? Please explain. According to your data, do vector or raster files sell better on Patternbank? Or does it matter? Does Patternbank only accept repeat patterns or can artists also upload placement prints? For example, I used to be an in-house Textile Designer and I designed a lot of rugs and pillows that had placement prints. In fact, my Art Director would often give the criticism that a rug designed looked “too much like fabric,” which meant repeats were not ideal for a rug design.Other artists may wonder if they could ever sell an illustration that included several supporting or blender patterns on Patternbank to accommodate different markets? The wonderful thing about Patternbank is that artists don’t have to make the big investment up front to go to a trade show to meet clients. That can be really expensive and can take a lot of time to see a positive ROI.The down side for artists is that they remain somewhat anonymous on the site. In a traditional licensing contract, an artist can negotiate to have their name or brand on any product using their art. Companies like Anthropologie or Target will often do an artist spotlight with an entire collection of products with the artist’s work. Would Patternbank ever consider adding a License that gave the artist a little more exposure to the end consumer, both retail and E-Commerce worlds?
48 minutes | Apr 14, 2020
Skillshare vs Teachable: Which is better to host online courses? | Pros & Cons Teaching Online Masterclass
Skillshare vs Teachable (or Thinkific): which online platform is better to host your online courses and classes? If you're thinking of teaching online courses, especially as an artist or designer, this video is for you! There are certainly pro's and con's to which platform is best! Skillshare is an awesome platform to get started on especially if you don't have a large social media following, Instagram presence, or email list. But it has it's downsides such as only sharing 30% - 50% of the revenue. Hosting your own masterclass can potentially earn much more revenue, but sites like Teachable and Thinkific can be expensive. Listen in as Jen Lezan and I discuss workarounds and how to host your own online course on your own website like Squarespace or Wix. ⭐️ TEXTILE STAR ⭐️ https://www.laurenlesley.com/masterclass 🌊 PORTFOLIO SURGE 💦 https://www.laurenlesley.com/portfoli... 💙 SKILLSHARE CLASSES 💙 **Get 2 months free!!** https://www.skillshare.com/r/user/lau... Follow Jen Lezan: 🔴 YOUTUBE: https://www.youtube.com/channel/UCZw1... 🟣 INSTAGRAM: @jennifermveguilla ➡️FREE TRAINING in Textile Design: 🎧Subscribe Rating & Review 👉 http://bit.ly/2JkxdnE ➡️FREE 2020 Trend Guide PDF: 🎧Subscribe Rating & Review 👉 http://bit.ly/35bPbAW 🤓RESOURCES: https://www.laurenlesley.com/resources ART SUPPLIES http://bit.ly/2H4z8uc BOOKS http://bit.ly/2J2DeGF DESIGN TOOLS http://bit.ly/2DS7PTo SKILLSHARE CLASSES **Get 2 months free!!** https://www.skillshare.com/r/user/lau... YOUTUBE EQUIPMENT http://bit.ly/2V4nnsI 🔴Be sure to SUBSCRIBE + click the bell 🔔 for more design tutorials, business tips + creative strategies: http://bit.ly/2LGqRNE 🛍SHOP: Clip Art: https://www.laurenlesley.com/clip-art Custom: https://www.laurenlesley.com/custom Pattern (Buyers only): https://www.laurenlesley.com/pattern Creative Market: https://creativemarket.com/LaurenLPoole 👯♀️📺YOUTUBE COLLABS: I'd love to collab with fellow YouTubers on a video topics including: -Textiles -Art Tutorial -Surface Pattern Design -Character/Portrait Design -Growing Online as an Artist/Designer APPLY HERE: http://bit.ly/2Vu4V21 💡READ MY BLOG: http://www.laurenlesley.com/blog #laurenlesleystudio 🎧LISTEN TO THE DESIGN TRIBE PODCAST: iTunes: https://apple.co/2xZIPsy Spotify: https://spoti.fi/2LHe2TB 👥JOIN MY FREE FB GROUP: https://www.facebook.com/groups/Desig... 🤳🏻GO LIVE WITH ME: Apply to Go Live with me below! Let's discuss: Design Topics Art Topics Creative Side Hustles http://bit.ly/2UA0dKv 👋Wave at me on social: Instagram: http://instagram.com/laurenlesleystudio #laurenlesleystudio Pinterest: http://pinterest.com/laurenlesleystudio Facebook: http://facebook.com/laurenlesleystudio .................................... Tags: .................................... lauren lesley studio skillshare vs teachable teachable vs skillshare skillshare vs masterclass skillshare vs signature course best online learning platforms 2020 skillshare vs youtube skillshare vs squarespace teaching online art teacher artist teaching online classes teaching online classes from home teaching online courses skillshare review 2020 skillshare free skillshare courses skillshare classes
48 minutes | Mar 24, 2020
Designing in Hospitality w/ special guests from Art of Floors, Tom Ethridge & Katie Stewart
Soo excited for this next podcast episode with special guests from Art of Floors, Tom Ethridge and Katie Stewart, we'll be discussing what it means to design for the Hospitality industry and how creativity plays a role. In this episode, we discuss the following questions: 1.) [Tom & Katie] From a design standpoint, how is Hospitality different from other industries? 2.) [Tom] How did the idea for Art of Floors get started? What role does creativity play at Art of Floors? 3.) [Katie] What are some design styles that Hospitality clients are drawn towards and why? 4.) [Tom & Katie] If a designer would like to work in the Hospitality industry, what are some essential things you’d look for in a portfolio? 5.) [Tom] How do you see the Hospitality industry changing in the next 5-10 years? How does Art of Floors plan to evolve and “future-proof” its business? 6.) [Katie] What are some up & coming trends you see coming specifically into the Hospitality segment? How do you do your trend research? 7.) [Katie] What types of software do designers need to know to work in Hospitality? Or is it different for every company? 8.) [Tom] How do handmade goods play a role in Hospitality? Do you see a rise in demand for handmade products or only in certain niches? 9.) [Tom] Do you see Art of Floors expanding into other categories? Would you ever offer pillows, upholstery fabrics, or other types of products? 10.) [Katie] Walk us through your career as a designer. You have an interesting story and made some major sacrifices being long distance with your (now) husband. What advice would you give entry level designers who are looking for a new opportunity? ➡️FREE TRAINING in Textile Design: 🎧Subscribe Rating & Review 👉 http://bit.ly/2JkxdnE ➡️FREE 2020 Trend Guide PDF: 🎧Subscribe Rating & Review 👉 http://bit.ly/35bPbAW 🤓RESOURCES: https://www.laurenlesley.com/resources ART SUPPLIES http://bit.ly/2H4z8uc BOOKS http://bit.ly/2J2DeGF DESIGN TOOLS http://bit.ly/2DS7PTo SKILLSHARE CLASSES **Get 2 months free!!** https://www.skillshare.com/r/user/lau... YOUTUBE EQUIPMENT http://bit.ly/2V4nnsI 🔴Be sure to SUBSCRIBE + click the bell 🔔 for more design tutorials, business tips + creative strategies: http://bit.ly/2LGqRNE 🛍SHOP: Clip Art: https://www.laurenlesley.com/clip-art Custom: https://www.laurenlesley.com/custom Pattern (Buyers only): https://www.laurenlesley.com/pattern Creative Market: https://creativemarket.com/LaurenLPoole 👯♀️📺YOUTUBE COLLABS: I'd love to collab with fellow YouTubers on a video topics including: -Textiles -Art Tutorial -Surface Pattern Design -Character/Portrait Design -Growing Online as an Artist/Designer APPLY HERE: http://bit.ly/2Vu4V21 💡READ MY BLOG: http://www.laurenlesley.com/blog #laurenlesleystudio 🎧LISTEN TO THE DESIGN TRIBE PODCAST: iTunes: https://apple.co/2xZIPsy Spotify: https://spoti.fi/2LHe2TB 👥JOIN MY FREE FB GROUP: https://www.facebook.com/groups/Desig... 🤳🏻GO LIVE WITH ME: Apply to Go Live with me below! Let's discuss: Design Topics Art Topics Creative Side Hustles http://bit.ly/2UA0dKv 👋Wave at me on social: Instagram: http://instagram.com/laurenlesleystudio #laurenlesleystudio Pinterest: http://pinterest.com/laurenlesleystudio Facebook: http://facebook.com/laurenlesleystudio
59 minutes | Feb 11, 2020
The Visibility Strategy w/ Kim Kuhteubl
Kim is an author who works with designers on creating better business strategies on an emotional and strategic level. Buy her book: https://www.mebydesign.com/shop-2/branding-interior-design-visibility-and-business-strategy-for-interior-designers QUESTIONS: 1.) What are some of the biggest problems you see designers facing? 2.) What is the best piece of advice you can provide designers when it comes to networking and getting their designs in front of the right people? 3.) How much does mindset play a role in designers feeling ‘stuck’? 4.) Do you believe that designers are lacking the right marketing or PR strategies? Is there something deeper going on or is it a little of both? 5.) How would you advise designers to become more ‘available’ for the life they truly want? What are some action steps they can take to become more available? 6.) How does gender play a role? 7.) So, explain to us your Visibility Strategy. What are some step-by-step things designers can do to be more visible online and in the real world? 8.) A lot of artists and designers are introverted, myself included. We’re not necessarily shy, but we don’t enjoy being ‘on’ and being in front of people all of the time. Do you have any tips for introverts? Would it be better for them to hire a PR manager or to outsource some of the extroverted tasks involved in becoming more visible? 9.) Do you have any suggestions for ways designers can earn more money in 2020? 10.) What are some of the biggest emotional hurdles designers face surrounding money and what are your tips to help them overcome these hurdles? TRANSCRIPT Speaker 1 (00:04): What's up design tribe, but welcome back for a another episode. Now if you want to tune in to the live streams, then be sure to join in my design tribe Facebook group will where I go live with guests and do new episodes of the design tribe. To watch past episodes. Be sure to check out my playlist on YouTube for the video version and of course check out the design tribe on iTunes and Spotify for the podcast of version if you are wanting to listen while doing something else or getting crap done. All right, let's jump in. Speaker 1 (00:40): Hello. Hi everyone and welcome to today's episode with Kim Kuhteubl where we're going to discuss the her visibility strategy and also go through all kinds of questions. So Kim is an author who works with designers on better business strategies and some kind of like emotional blocks that designers sometimes have. So Kim, if you want to introduce yourself and kind of give a little bit of your backstory to everyone in the design tribe, I'm sure. Thank you so much first of all morning for having me on the show. I really appreciate it. I work with interior designers on their branding and visibility. As you said. I actually am a producer by trade and I spent a lot of time in television and contributing articles to different publications and then when I was sort of looking to transition out, I started working with a success coach and put together a package of services for interior designers and then realized, Oh wait a second, they like what I'm offering here. Speaker 1 (01:39): And it was initially video and it was blog production and blog content sort of things that I had done inside of my job as a producer is a content creator. But then I started to put together trends that were happening in terms of visibility and leadership and things that were getting in the way of designers actually getting the press or putting out the book in the world or getting the next level of client. And what it's, what I started to understand was that I was learning about women in leadership because 80% of interior designers are women. And so as I was working with them, I was learning about how women lead and also what gets in the way of them leading at their full capacity when they're creative. Right. So then what are some of the biggest problems you see designers facing? Like you said, 80% of interior designers are women I've kind of noticed as well. Speaker 1 (02:39): It's the same as true in textile design, which is my background. So yeah, I worked as a graphic designer for a little while and then I was a textile designer for seven years and I love, love, love textile design. But I did, I have noticed some kind of different design industries that women gravitate towards as opposed to men. Like a lot of industrial designers have more men tend to be more men. Yeah, it's interesting. I think that from the perspective of blocks you could, we can look at it a couple of ways. There are the business blocks and then there are the emotional blocks as a creative because fundamentally what you are as a creative, that's my dog, Ramona. Speaker 1 (03:25): We are as a creative is we're selling our creative work. And I don't know about you, but for me, when I'm being creative, I learned through my creativity. I'm a writer. I learned through my writing, I learned through the things that I create. And so when you have to offer those for sale, a lot of times there are going to be personal blocks that are involved there. So you might think, can I charge that much for my work? Is it worth it? Is it good enough? Or this work is not good enough? Because a lot of designers and creatives in general are perfectionistic. We're trying to get to our next level in terms of our creativity. So I like to look at things as done better than perfect. Otherwise nothing would get out in the world that that took a little bit of time to get there because at first I was just trying to be a perfect creative, you know? Speaker 1 (04:19): And I was like, no, well not show you that it's ugly. Or you judge it harshly. You say, that's really terrible. And meanwhile somebody else who's on the receiving end of that is finding beauty in that is finding wonder in that end. You've done your job. I think we all come here with gifts. I look at it spiritually too, that my creativity is a spiritual expression. And so there is somebody who needs to connect with that creativity and who's going to be moved by it. First it was just for me, but then eventually I'm here to serve with it. And so when you're here to serve with it, you have to get out of your own way with all of the, like the inner brouhaha that you might be telling yourself, whether you're, you have an inner mean girl or an inner insecure girl, designers. Speaker 1 (05:04): You mentioned to me that you were an introvert. And I'm an introvert as well. Most creatives are introverted. They love spending time alone. And what you have to do is choose the time that you're going to be in communication with as resists and how you're going to be in communication with others. And that's more important in that moment because you're here to be of service. Right? So I think what I'm hearing you say is that, you know, a lot of designers have these emotional blocks with, you know, kind of on one hand and I worked this price that I, that I need to charge really in order to make a decent living and support myself and also, Mmm, okay. Trying, dealing with perfectionism, you know, being afraid to really put yourself out there as, I guess what that boils down to is another block and then, Mmm. Speaker 1 (05:56): Also like when you're thinking about some of the blocks on them as an aside, at least like when it comes to something like pricing, how would an artist maybe know the market just isn't receiving what they're putting out there? Because I see that happen a lot too, where it's like, you know, you might love what you're, you know, you might love your work, you might believe in it and you're putting it out there. But if you're not seeing results, like when is a good time for an artist and maybe say, okay, like this isn't really viable for the market because you really have to have both, right? Like you have to have the emotional strength to really like put yourself out there like what you're talking about. But also there has to be a market for the product that you're putting out there and there. Speaker 1 (06:37): I don't know, there has to be someone who's willing to buy it. I I do. I love this question and I've never been asked it before in this way cause it's sparking a whole lot of things for me. Normally how I would answer it is that there's always a market for what it is you're doing. There's always a somebody who wants what it is you put out in the world. You just have to find them. And what happens is we get in our own way by thinking, Oh nobody wants to buy this. Then we start to focus on all of the reasons why nobody wants this or maybe it's not the right timing or all of those things. And so we focus on that instead of well where are the clients who want to buy this? And they might not be in your normal sphere of things, especially when it comes to design services. Speaker 1 (07:23): And this is a very common common, the problem with designers is that they have an idea in their head or they want to express their creativity in a certain way and the client wants the creativity expressed in another way and those things don't match. So they think, well I can do what they want but I'm not going to be creatively fulfilled so I can either be creatively fulfilled or I can be paid. But it can't be both. And that's not true. However, what sparking for me, when you were asking me that question was that there are many artists, the majority of artists are ahead of the curve. They're ahead of the cultural curve in terms of emotion, in terms of visuality, in terms of all of those things aesthetic. So you might be a visionary with a product that is not currently of the marketplace and you really have to figure out, I think a way to have a conversation. Speaker 1 (08:20): Cause some people are like, well they just didn't hit, the timing didn't hit. And we do see that that some people are so far ahead that they can't permeate the Geist. They can't get into the conversation, but I think a lot of times designers give up too early and we get caught up in this, again, the emotional trauma, nobody wants it. Oh maybe I suck. Well maybe this is too expensive. We go down that rabbit hole much quicker. Then we would spend the time trying to figure out who needs this now. Yes. I'm also of the belief that if you get the idea now for the moment, now you, Elizabeth Gilbert talks about this in her book, big magic. And you see this out in the world that a lot of people will get the same idea at the same time in different parts. And I think there's a, there is a reason for that, that that idea is trying to get out. Speaker 1 (09:19): So some people are more confident about that expression and if the idea doesn't get expressed, if it's not meant to be with you, it will go looking for another home. I do really agree with that. Have you read that book? I have read that book and I had kind of forgotten about that part. But yeah, I love that part. Where it was like an idea for a book and like she had, was it an idea for a book that she had and then one of her friends yep. Manifesting with one of her friends and she said it was on a kiss. Like she kissed her friends, like congratulations or something. And then she felt the idea, leave her and go to her. Her friend and her friend brings up the book. And I, I, I of, I do believe that I believe that ideas have a home. Speaker 1 (10:01): And sometimes I'm like, I, I, you know, I know for me, my creativity, I'm not always taking care of it. And so if I don't take care of my creativity, I don't feel happy as a human because it's so much a part of me. So I think as creative people, the real art for us in business is learning how to express ourselves at the highest level and then have the conversation with people in such a way that they understand the value of this work and we'll purchase it from you. Right, right. I love that. Mmm. It does kind of also bring me back to my days as a textile designer when, you know, sometimes the market just wasn't quite ready for something. Like a lot of times we would talk about something looking and I designed rugs, right? So it's not like it's not like a cool book idea or something. Speaker 1 (10:54): It's totally cool that you're doing it as a creative. It's just because, you know, me can, not everybody can, I can't design a rug. Not everybody can design a rug. So that's another thing is that we really diminish the gifts that we have because society doesn't necessarily understand it in the same way we do. But the fact that you could visualize something that goes in a room that grounds a room, that's pretty powerful in my mind. Oh, thank you. Yeah. I love designing rugs. I think what I was trying to say is just that, Mmm. I think it was pretty clear when the market was either not ready for an idea. For example, when we would do like our color research, we were seeing like a lot of [inaudible] like tans and Browns and like more warm neutrals come up. But everyone in the market in the last like five to 10 years just perfect, purchased a gray sofa. Speaker 1 (11:48): So we were like, all right, we might feel like a little too early with some of these like warm neutrals and Brown's that coming back into rugs, like people are probably still going to be going with the grays. But also at the same time, like sometimes the design might look too dated that's been in the market for a while. Like we don't need to keep designing something that looks a little bit tired or dated, so. Mmm. Yeah. So I think that, I think it's an interesting conversation. I do. I, I hadn't thought of it that way. It is an interesting conversation. Yeah. Because you, you might be ahead of the curve too far ahead of the curve in terms of, but I do believe there's always an a, a way in, otherwise you wouldn't have had the idea. And sometimes I think ideas come early to people so that we have preparedness too because they take longer to execute than we think. Speaker 1 (12:37): So that they hit the site guys like, you know, there's the book by Malcolm Gladwell that talks about the tipping point and the early the early adopters and all of the, you know, the different categories of people. And I always feel like I was always a little bit of occur ahead of the curve, but I wasn't the head a head person. Hm. But for that person, they have an audience. And I do think for creatives, we don't spend enough time cultivating our audience. We might get into judgment about who they are. We might be afraid we're not reaching them. I think a lot of creative spend a lot of time in their head, quite frankly, worried about their work and does it suck? Does my work suck? Is this worth it? Is it, should it be out there? And part of that, I have to say too, is also part of the culture. Speaker 1 (13:26): Because the culture, traditionally we'll value somebody who's coming out of finance school more highly than somebody who's coming out of sculpture school. Absolutely. Yeah. But they also value industrial designers more than, there you go. Yep. It's interesting. I dated a guy a while back that was an industrial designer and he also hired, he was a manager and hired industrial designers and they're starting salaries were like way more than a textile designer. That's a different rabbit hole. But yeah, I was like, why? Yeah. And you know, and I I T to that point, I, part of the issue is that we don't speak up whatever sort of marginalized body we are as women. A lot of the time we don't say, Hey, this is not okay. This is the value of this work. We're like, Oh, this is what we have to accept. No, we don't. Speaker 1 (14:23): So there are always people who break the paradigm who break the rules. And so if we start to say, this is actually what this work is valued, that this is how many hours it takes, this is the level, the number of years of experience I bring to this work, this is who I am as a human being. This is my original creation and this is what it's worth. And then we hold that, which is not always easy when you have bills to pay, but we hold that. Then that's kind of the work that we're doing with designers too is having designers, you know, able to ask their value and when hundreds of designers are asking for their value, then everybody starts to understand, Oh wait, Hey, I can't get this service for free. Right. Yeah, that makes sense. Yeah, I do think it's definitely systemic as well, like at least with talking about starting salaries and all of that because Mmm. Speaker 1 (15:22): I think about it from the business owner's perspective too. And if I was a business owner and I had a rug company for example, and I said, Oh well this is like the going rate for textile designers. That's what I would offer someone as well. Right? So yeah, but no, and it's true cause you're starting you, we want to be fair and you want to know what is fair, but then there's all you're always willing to pay. I use the personality, right? If you want the Chloe purse, you're going to pay for the Chloe purse [inaudible] so you have to and how do you position yourself as that person? And then we get into a whole rabbit hole of money and our perceptions of money and what does it mean to have money and a lot of creative people and I was definitely like this before as well, like money. It's like I didn't want to have that conversation. I was having a a higher conversation than just dollars and cents. Right? It wasn't just about I was having a much higher, more important conversation but being broke. You can't have the conversation in the way that you want to because you end up struggling so much. Speaker 1 (16:31): Yep. Okay. Well, what is the best piece of advice that you can provide designers when it comes to kind of like networking and getting their designs in front of the right people and kind of like becoming that Chloe purse that you just talked about? Like how do you, how do you have leverage, especially if you're just starting out or, yeah, I like trying to get your designs in front of the right people. I think we're in a time of unprecedented access for creative people to reach their audience. So so many of you, you are Jane this as well. So many of us are actually reaching our audiences on our own with our Instagram feeds or with our Facebook feeds or our YouTube channels. So building your audience, you don't need to have [inaudible] pending on what you're selling. If you're in a product based business, it's a little bit different. Speaker 1 (17:20): When I work with interior designers, their jobs can be a lot bigger. But when you're selling [inaudible] services, you don't necessarily need a ton of clients to actually earn a decent wage and earn a really good wage. You have to have the right people who are the super fans who are focused on what it is you're doing. So I would say first of all, call two eight your audience, figure out who your super fan is, who that person is, who likes to buy from you and learn all the things about them. Where do they hang out? How do they purchase, why did they purchase, when did they purchase? All of those kinds of things. And then in terms of networking, it depends on what your ultimate goal is and putting yourself, understanding how you do fit into the market. Good place. So back to that conversation, are you more cutting edge? Speaker 1 (18:12): Are you doing what other people are doing so that you can create some press for yourself? And again, myriad outlets available to us. Now, loggers, Instagram feeds, podcasters, all kinds of people looking to tell other people's stories. So find the people who are excited about your story and share with them. Because even one fan, one super fan making a purchase, it can be that purchase that tips you over the edge. So that that's something I would do. And in terms of networking, you know, for a lot of designers will I'll say do a speaking engagement for an audience that you love. For us, like getting in front of people where you can interact or if you were, if you were a textile designer, you were saying maybe it's a workshop. If you're hosting at workshop four other artists to learn how to paint, there's all kinds of creative out of the way out of the box ways you can do [inaudible]. Speaker 1 (19:12): What I would say is this, but what it relies on, more importantly, and this is the part about visibility strategy, is that it's internal. So you really have to look at what is my mission here? What is my why? Why am I here to do, what am I here to do with my work? And then the strategy will present itself and associate itself with that. So as an example, you know I, my book branding, interior design and when I was writing it I was writing at one way and then I sort of started getting as you do when you create like different ideas and different research and I started taking it in a totally other direction so that when it to be published there were certain publishers for whom that was a fit. There were certain publishers from, I could have that conversation. The same with you, with your creative work, whatever it is that you're making. Speaker 1 (20:04): There are certain things that are going to be more people who are going to be a more natural fit for that. I had a client come to me once, it sounds like an odd thing and she had an idea for caskets. I know it sounds bananas, but she had an idea for caskets and then earns really modern earns. And I loved that idea because it was so specific and narrow that I, I mean everybody dies, right? So, but she could have, there's a handful of manufacturers who were doing that so she could have a conversation with the ones who didn't have, who had that gap in the market where she could potentially put her product. Now she, it, she didn't have the, the energy to go forward with that. And I think she thought the idea was crazy and I thought it was brilliant. I almost say that more crazier your idea, the more likely you will find an audience for it because it's crazy. Yeah. Speaker 1 (21:08): Sorry. I think of a, like the Snuggie like how popular it was and I'm like, what is silly idea? I dunno. I mean, I mean or, or you're too young for this, but when I was growing up there was like the cabbage patch doll, right? Or like all these doll, like all of the toys that come out and become like hits. I, you know, and now I have a one year old and he, he's singing like we're listening to the frozen soundtrack on Pandora radio the other day. I'm thinking to know how huge this movie was. They didn't know. I bet you that though it's going to, what, what was it about that film? And they couldn't do it in the second one, but what, what is it about that film that takes off? I think there are some things we don't know and that we can't contain. Speaker 1 (21:53): But if you ask testing this out by self, but if you ask to do the creative work that it's for the highest and best good of you and the highest and best good of others, you'll be given that. And if you stay committed to that focus and you don't drop it or let go or give up, you find an audience for it. So how much does mindset play a role in designers feeling stuck? Cause it sounds like that's something that you kind of deal with when you are working with designers. A lot. It is. I think it's, it is definitely a important for all human beings. We're, we're, we put so much emphasis in the culture on the money and the financial aspect of it, but business is human beings doing business. So we're emotionality where relationships where all of these things. So I think there's a point at which you can shut down your emotionality. Speaker 1 (22:48): But design is so personal. Creatives are so personal. This is where we get into trouble with boundaries a lot of times. So boundary setting is a huge problem for creatives because you want to help somewhat sometimes with your creative work and you're willing to help them more than you're willing to be paid well for what it is that you're doing. So mindset too, in terms of getting to your next level, how you feel about what you're doing in the world, how you feel about the people you're working with. I'll see a lot of designers get stuck after a month, bad experience with a client. So they've had a horrible experience with someone that they keep replaying over. I don't want that to happen again. I don't want it to happen again. And then what happens is they're attracting more and more and more of those experiences because they're focused on them. Speaker 1 (23:41): Hmm. I've been having a conversation about mindset for the last nine that I've been doing this with clients, but I'm also now having a deeper conversation about your soul as well because you're not your thoughts and your thoughts or things that you practice there. They can be good habits, they can be bad habits. You can be telling yourself good things all the time, but somebody is telling yourself that and whatever that entity and our energy is, that's who you are. And that's what she came to do. So I'm really more in touch with that. Like how are you here to serve? What lights you up, what makes you excited? And then we work on releasing whatever feelings or habits or practices that you've kind of gotten your way. And this ties very, this is what the visibility strategy really is. It's about being available. It's know visibility is about not only being seen in the traditional sense of the word, it's also about are you available? That's one of it's underused definitions. And for me, available is an internal game. We do things from the inside out. So once we have clarity on the inside, Oh, okay. Or vision is and who we want to serve, then the strategic portion like what is, do I use Instagram, do I use YouTube, how much do I charge? All of that is a lot easier once you have clarity on the first two pieces. [inaudible] Speaker 1 (25:09): Okay. So I'm going to skip ahead to a question that I think kind of relates to this conversation a little bit more and it is something that we kind of touched on earlier, but it's the fact that, you know, a lot of artists and designers are introverted and myself included some of the you know, things you were talking about, about, you know, reaching out or doing a speaking engagement. I can just like feel designer's like cringing, you know, like it's not that we're necessarily shy, but we just don't enjoy always being on all the time. And you said you're introverted as well, so I'm sure you can relate to that. And just being in Toronto people is, it just takes a lot of energy out of us. Yeah. Do you have any tips for introverts and would it be better maybe for them to hire like a PR manager or to outsource outsource, excuse me, some of the extroverted tasks that we don't necessarily want to do all the time that are involved in maybe becoming more visible. Speaker 1 (26:05): So that way became sort of reserve our energy for those times that we do need to be available and on. Yeah. Yeah. I think it has to be on a case by case basis and it depends on what your business and what it involves. So I would say I'm better at one on one connection. I actually really, I'm introverted, I like my alone time, but I like one on one connection quite a bit. So I will say seek to have those kinds of meetings and that's the way that you can accelerate your business is having, if you're a D a textile designer or designer or a maker, having the meeting with one decision maker or having a meeting with, you know, reaching out to the sales person or the vendor who you know, or that super fan is just like the one on one connection. Speaker 1 (26:54): So what I try to do is build relationships with people who don't mind being in front of many and then, and then I can have the one on one relationship and they can be the foot soldiers. Then there's also that you need downtime so that when you are going to be out in the world, you are militant about scheduling your receiving time or your downtime so that you can recover. Right? Because you have to recover. I, because I come from a production background and because I started, I started in theater, so I started getting my own press for theater and productions that I did. I'm a big fan of you doing your own press because you formed the relationship with the journalists. So it's again, that one on one and then they go to publication. You go with them. It's not rocket science. Most creatives I find have a natural instinct for where their stuff fits. Speaker 1 (27:48): No. Well, if you're a good creative, you, chances are you don't know. It's not a fit for that, or I don't want it to go there. You just, you have that innate discernment and I think you should naturally do your own press until it gets, until the requests are so great. Or if you can't say no, then you hire someone to do it for you. But I'm a big fan of starting on your own and doing it by yourself because you know your work best. You're going to have the best kind of conversations and people like you, they'll form the relationship with you as opposed to with others. And I'm sure you're good a one on one. You're happy one-on-one. Yeah. I like doing one on one. I love doing the podcast. Yeah. Interviewing people like you. So, yeah, I mean, yeah, I do enjoy that. Although if, I think if I had, if I was doing this all day, like back to back, you know, like I don't know, five hours a day, I think it would be too much. It's too much. Yeah. So we, I always have space between interviews. I actually did some coaching today. I'm like, Oh, I'm actually, I'm okay. It's okay because I was a happy group. I love my clients. So that's really important. That's really important for introverts too. All aspects of not only your supply chain, but your client chain. [inaudible] Speaker 1 (29:04): Have a, no, I don't know if we can, can we say swear words? Are you okay? I don't care. Have a no asshole policy. Right. Or don't work with pittas pain in the ass. Don't work with them. Right? Like no. And, and that's going to be different for everybody because my Pitta is going to be somebody else's dream client. So really honoring how you feel. You know, when I'm in the company and this person, I feel like crap or they don't really understand what I'm saying in terms of the collaboration. I don't want to work with them and just being okay with that and releasing them to go find somebody who's going to be great for them. But really being fierce about fit and fierce about what your fit is so that when you, or in a situation or you have bigger demands on your energy that you feel comfortable giving [inaudible]. Speaker 1 (29:58): So do you believe that designers are maybe lacking their right marketing or PR strategies or something deeper going on? Or is it a little of both? And I know we kind of touched on this, but yeah, I think I have a lot of clients who are like, and again, it really depends on what it is you're selling. For interior designers perspective, some will say, Oh well Instagram. And it just depends on, again, their age demographic and also who they're serving. And I'm like, the first question I usually ask is, is your ideal client on Instagram? Well, have you ever really gotten a job from Instagram? No. Now some clients do. And then I'm like, perfect. That's where you should put your efforts. If you don't get a client from the place where you're putting your marketing efforts, don't do it. Even though everybody's saying this is what you have to do. Visibility strategies are individual, so you need to choose and figure out where your people are and then have a cover. I've noticed that I'll have a different conversation with someone. I'm sure you noticed this too. I've had a different conversation with somebody on Facebook that I do on Instagram. I get a different kind of client from Instagram than I do from Facebook, and so. Speaker 1 (00:00): We really pay attention to that. So what I'm posting here is different from what I posting over here and sometimes it's the same, but I'll tweak the way I come into the story. And I think again, that's something that creatives do very naturally because you're trying to fit and to please. But I think also from a visibility standpoint, what we talked about earlier, which is not thinking that your work is good enough to get press or to be seen. So not even trying to pitch or not even trying for, for years and years work goes by. That's a problem. Your work is if, if at least people who are not your mom, at least three people who are not your mom tell you I love this work or this is really beautiful [inaudible] then figure out what those people read and pitch that Daisy because you're onto something or where do they hang out online or what would they be willing to buy it? Speaker 1 (00:58): I have a friend who's a Facebook friend who I was somebody who I went to school with. I didn't know her actually very well then and on Facebook. Now she's been posting all of these paintings and I said, Oh, I love that painting. I would love to buy it. And she's like, okay. So she sells me the painting and the now she's been developing this website and she's kind of coming out as an artist because she didn't think that her work was that great. She's judgment on her work. Okay. Just because you're learning doesn't mean that I will enjoy the output of the stage you're learning at. When I looked back at my earlier films or when I look back at the earlier thing I've written, sometimes I'm like, like, or I that doesn't resonate or I like it, but I'm like, I don't even know how I got to that. I would've never gotten to that place now. That's okay. Be grateful that you did that work and then now you're onto your next set of work. Speaker 1 (01:57): From my own personal standpoint, I feel like I've gotten on these little PR cakes where I've tried to like reach out to some press, but I haven't really heard back that much. And so I think maybe designers feel like, at least for me, I felt like I needed to have maybe a little bit more of a success story before I started. You know, really putting myself out there a lot more including like being on other people's podcasts and things like that. Well I think it's more you need a story in the moment. So if you had like a new release, that's a story. If you see, you know, if you're exploring something in a way that nobody has, like you're setting a trend in the market, that's a story. So there are ways in, well what I will say about press, it's, it's a Sisyphean task. Speaker 1 (02:42): So you really have to just keep doing it. Just have to keep doing it. And you will get a lot of nos for every yes, we get silence, radio, silence or nos and you can't take it personally. So we have a three rule follow up. We kind of, we pitch, then we wait seven to 10 days, then we follow up with an email, then we follow up with a phone call, then we drop it. If we don't hear anything and then six months later if they haven't told us to like bugger off orF off, then we will follow up again and again. You just keep doing it because chances are the, in this climate, the journalist has left and gone to another publication that also, and this is a good point which I'll make quickly, but is this the idea that if your energy is too loaded, when you're pitching, you're unlikely to get the response that you want. Speaker 1 (03:40): So if you've made it by loaded pen, this is couple things. So if you've made it mean too much. Okay. Or if you are in any way hesitant. I find it such a delicate thing. I had a client, her work was stunning. Two clients we were working on, we were working on that for them and she was pitching, we were trying to picture it. I'm like, this work is beautiful. We had three yeses from publications that all of a sudden disappeared and I was like, that is weird. This is you. So we had been journey. We had this conversation where turns out she'd had all of this like, well, I'm not really sure about that publication. And then she had all this like internal stuff going on that and I do believe in energy and the flow of energy and how that impacts things. And so she left it up with that like whole, you know, brouhaha going on and just today we were talking, she's like, Oh, this publication came to me and this one came out of the blue. Speaker 1 (04:38): And I said, yeah, because she's in a great space, she's ready to be seen. She's ready to be seen authentically for who she is. She's not afraid to be seen. She's like, it would be nice to be published, but it's not going to make her break her career if she doesn't. And it comes in really easily. So I never had anything on press in my early days. And so when I was producing theater and being and shows and things, so I would get a lot of press, which could piss people off, but I just didn't have anything on it. I was like, Oh well this is what you do. Okay. So I did it and then I would get the press. And so if you have that fun, make it a game with yourself and you're like, well this is going to be fun. Let's see if I can get two or three interviews, podcast interviews or let's see if I can get like an article in this publication. Speaker 1 (05:26): Like wouldn't that be fun? And you just make it really light. Right? You're more likely to have success with it. Cool. So how would you advise designers to become more available for the life that they truly want and what are some kind of action steps that they can take to become more available? And I know you kinda just mentioned that with just kind of knocking on the door and not putting too much pressure on it. Yeah, they do some research, create a list. Maybe people that they want to reach out to podcasts that they want to be on. Blogs are, yes. So that's from a traditional visibility standpoint. From an availability standpoint, I'll, I'll address that two ways from the availability. The internal game is first getting clear on your vision and your vision of what you want your life to be like. And you might not see that. Speaker 1 (06:16): I think visions, we talk a lot about manifestation. I do believe that visions are received and they're received. When you're in an open space and you're ready to receive them, a lot of people say, I don't see what I'm supposed to do. I can't, you know, I don't understand it. I'm like, because you're probably not giving yourself permission a lot of the time or you can't believe that it could be possible. You could have the life you see in your head. So once you've, yeah, get clarity on that and you start to do any kind of release. We have visibility. I talk about visibility blocks. I'm going to be adults on it in March and talking a little bit about the visibility block and the removal process, but a lot of it is this kind of internal energetic work. Then you can create the strategy from there. Speaker 1 (07:03): So yes, in terms of the the practice physical visibility standpoint, it's understanding what you're selling, what your product is, how it, how it is, the story of [inaudible] the product and then who needs to hear that story the most and then which publications are speaking to the people that you need to speak to. I will say though that cultivating your own following, it's really one of the best things that you can do. So building your own audience, friends upon friends, doing a newsletter. I'm a huge fan of the newsletter once a week talking to the people who want to hear from you about things that are of interest to you. [inaudible] One of the best things you can do about creating business for yourself. And I guess the question I would ask with this is, you know, what is the goal of the visibility? And this goes back to that lightness piece because sometimes people think, well if I get the press then I will have made it, but the press is just one more step in either audience generation or in sales generation. Speaker 1 (08:13): So deciding what you think the press will do for you before you get it. And then saying is pressed the best way to achieve that goal. And then saying being prepared for the unexpected. So clients who have had projects published, I had one client in a show house this year and the, the room she did got picked up in multiple publications just all over the place. It created this snowball effect. It was the best case scenario. We would have never, you didn't see that happen [inaudible] and she was getting offers and meetings and all these things were happening and she was like, and we had to just breathe through that and allow her to receive at that level. Yeah. So I hope that answers the question. Yeah. I think I'm with my audience and for myself included. Like I, yeah, I'm trying to actually license my patterns now. Speaker 1 (09:13): So one of the best ways to get in front of people is to actually exhibit at trade shows. Yes. I was going to say you need to go to the licensing show. Yeah. Yeah. But it is really expensive. So Sirtex just happened in February and I did not go to that show because I now have, I'm working with an agency. So they were there representing me and my work and I love my agent, but I'm not sure, like I'm still kind of like, Oh, do I want to work with an agent, you know, longterm because I kind of miss being at the show, but I didn't really have. And that's, you know, funding to be able to, did you have you considered partnering with like five or six other designers and having a booth? Yeah, I've, I've discussed this with other designers and they, I feel like you kind of get lost in, you know, in six designers, you know, maybe with one other designer. It's, I've seen that work really well. And I did go to blueprint show last may. Yes. But with licensing, part of the problem is that you're earning royalties, which can be great, but it just takes a very long time to like really get the ball rolling with that, you know, finance. So, so this, so this is what I would say is why is the goal licensing? Speaker 1 (10:25): Mmm aye. [inaudible] First of all, you, you can maintain your own copyright on your work. Yes. You can use the same design over and over again for different industries. And it really, your name is on the work as well. So you know, you're kind of like partnering with a manufacturer who maybe sells dishes or it could be, again, rugs or pillows or any kind of home decor. It could be Carol, it could be really any product, but you're kind of partnering with that company and you get to do the artwork side of things, but they kind of handle the rest. So you're not a lockdown with the logistics and operations and trying to sell your own product. Mmm. You are also, you have more creative license because it is your brand. It is your so, and I would dig deeper with you. So then you want to maintain creative license. Do you want to have your brand? What do you want your brand to do? Speaker 1 (11:26): Mmm, but okay, I get that. I guess that's the very basic answer, but I know you have a deeper answer. But why I began, this is the work. Yeah, the word. I think it's more about leaving a legacy and kind of being known. Like when I look at other designers that you know, that we still celebrate today and their work is still being licensed you know, like Sonya Delaney or William Morris, you know, is one of the most famous examples. But I would love to leave a legacy, whereas, you know, of course we're all going to die at some point. Like we times on earlier. You think of William Morris with the agency though, right? So what do you want to be known for? Aye? To whom to whom do you want to have this impact? Speaker 1 (12:20): I mean, I don't really mind. I mean, I guess it's more women. My designs tend to be more feminine, more modern. Okay. but you see how that gives you, you have to know that. And the reason I'll say that, it's maybe not from a licensing perspective. When somebody got you in a booth. I'm just gonna just challenge the thinking a little bit. When six designers say, well I would be lost in a booth with six other designers, how is that any different than having an agent who has 30 different designers to represent inside of a booth? Yeah, I actually would argue, yeah, I would argue that six of you and I used to, because I used to do t-shirts and underwear, so this was in another life. I had a tee shirt and underwear line and we got up to 44 stores. This was like pre-internet and before I kind of knew about an inventory was like, it was like never again. Speaker 1 (13:11): And I was like all excited about licensing too, right? Like at that point. But, and it wasn't doing pattern design, it was doing words. So it was words on the tee shirts. And they were embroidered. But the thing is is that I would say this is that knowing who you are going to serve and what you wanted, like the emotional experience you would like them to have. Like, I made this and it makes me feel happy and I want them to feel happy and then fine meeting those women and then thinking to myself, well, what products could I make? Because there's ways for designers to make products in a way that actually is not fulfilled by you. Thank God that other people are fulfilling it. So it's not a licensing revenue. There's still some work involved, but maybe you're making cell phone cases or you're making key chains or you're making however you see your applications. Speaker 1 (14:01): So really going deep on how, how do I see this pattern in application and then who and then who is going to have it and then building that audience so that you have somebody cause yes, an agent. I've had multiple agents over my career fundamentally and it's been helpful definitely at times for sure. It's like a partner and it's a collaboration. It really depends on the agents. But I do think in this time you owning your art as you said, but also reaching your people in the way that you want to is actually going to be a greater service to you. So I would figure out what is it that I want my patterns to do? What applications do they have? Will these women be winning, willing to buy it from? And then creating your own strategy from that. Speaker 1 (14:56): Is that a helpful? Mmm, there might be resistance for that. Yeah. I've definitely sold products before and it's just not something I want to do again. [inaudible] Yeah, I don't know. Okay. It was, I ended up spending a lot of time selling and that's what I don't want to do. And that's the reason why I went with [inaudible] an agent. It's because they already have those relationships with a lot of the buyers and, right. Yeah, we'll see. I mean, if it doesn't end up working out longterm, that's okay. And it's, no, nothing bad about them. But it's early days. It's early days. So what you can do from their perspective and from a buyer's perspective is to have an audience. Because when people want your things, they want your things and that incentivizes whoever is on the selling or the buying end to buy it. But like, Oh, this person, we know her because of that. Speaker 1 (15:58): So coming to the press and that visibility from a very practical standpoint, but I do think you have some deeper work to do just with those questions about who is my audience really like seeing her so clearly on the other or him on it, but it's her seeing her so clearly on the other end and then figuring out what would she like me to do with this? Because you might get some brilliant idea. It might be going two women's goods or babies goods or something you've never thought of before that your agent might not have thought of either that you can give that idea to the agent to help sell or that you can create an agreement around. Because the only thing I'll say with the licensing model is that you have to have a lot of licenses. You're going to have to have a lot of licenses or a huge volume to make it, but even then it won't. Speaker 1 (16:48): It won't happen. So you have to have a lot of licenses to make viable and it's possible. But that means you're going to have to like dig down into your emotional reserve and say, okay, we're in it for the long haul and you know, show me the fastest route and just start really you can still continue to do some of that work on your own. Like identifying people for your agent. [inaudible] Doing like little letters, not sales letters. It's hard to be a creative and just be creative. So if we can reframe the conversation two, how are we connecting with people, with people who we love, then it becomes less tedious when we have to. And if you only have to have two or three of those conversations with people you like, it doesn't feel so much like sales. Yeah, that's definitely true. And I think that's definitely what I'm trying to do is kind of build up that audience. Speaker 1 (17:49): Youtube and Instagram and I'm on the Facebook group as well, so hopefully that will, well, it will help. It will help. And designers, you know, designers should be seeing depending on are you doing on on fabric as well? Yeah. Yeah. I'm having, I have some licensing deals with a fabric company. Another with a girl who's has a bad company. Right. And then my agent has been doing a lot of work and reaching out to a lot of people, but nothing has really landed yet. So she is going to land. So all I'll just say for you is put your focus on this is where it helps doing the vision. Put your focus on what it is you want, what are the outcomes you want. Put your focus there as opposed to why isn't it landing, why isn't it landing? Why isn't it landing? Speaker 1 (18:39): Cause then you just get more of that. So put your focus on, huh, I bet when I get X it's going to, we're going to do this and this will be, and then you'll get ideas based on it being done because at some, at some level it is done. Just like the design you've seen, your head is done. Right, right, right. That makes sense. That's cool. I like that. Okay. Okay. So do you have any suggestions for ways that designers can earn more money in 2020 if they are kind of struggling to get that full time income? Ask you have to ask for more money. So set a goal for yourself about what would be a stretch for you, what did you earn last year? You might may or may not have tracked that, track it, figure it out, and then say, well, what would be more and what would be a stretch? Speaker 1 (19:28): And then ask for that. So clarity of the vision, I cannot stress this enough. So much of the plan comes from that. And the way that you'll bring more money in comes from that. And then also not making any one client or way of being your source. It might be your source, but I'm thinking like what if you got a private commission from a designer to design their fabric line? You would probably be okay with that. Is that fair to say? Yeah. Yeah. So, so there are other ways then the way that you think that you're going to make money and be open to receiving those ideas and diverting from that track if the goal is more money and then back to what is the money for because the money comes in a lot faster when you know what it's for. [inaudible] So what are some of the biggest emotional hurdles that designers face surrounding money and what are some of your tips to help them overcome that? Speaker 1 (20:39): Again, it's that worthiness piece, right then I'm not worth it that I can't ask for this, that I shouldn't ask for this. And then the other thing is being in an other client's money stories so they don't have enough money for this, which is why I should charge less. That's probably the biggest one. Or they can't afford it or they're going through a rough time for now or whatever it is that you've told yourself. So staying out of that story and staying in, what is the value of what I'm doing and asking for that. The asking is important. You'd be amazed how many people just don't ask. So you can't get, you can't negotiate if you don't ask. Speaker 1 (21:23): Yeah, that is so true. And I have this one freelance client that I haven't raised my prices and okay. A year. So it's probably time to do that. There you go. Yeah. And yeah, and you know, if there's somebody who has worked with you constantly, then they like your work and you can say, look, it's time that I'm raising my prices, I'm going to raise them by this much, by this goal. And that's, that's, that's, there you go. Right. Okay. So we'll end on how does gender play a role in like everything that we just talked about? I really do think it does play a role in the way that women are socialized. And as I said, being able to look at mostly women in terms of interior design. There are recurring themes that pursuing our creativity is selfish, that we're being selfish, that we're supposed to take care of everybody else, that we don't really need to have this creative expression. Speaker 1 (22:21): And that's just not true. Also in terms of the value piece, we're schooled to be less, less weight, right? Less in age, lesson size, less. All of these things were schooled to be less, but we are in fact [inaudible] and we're, we're taking on that programming. I think if you, you know, there's that boo ha happening with the Superbowl right now and women saying, Oh, you know, I gender looking at Jennifer Lopez, his body made me feel bad. And I think to myself, well why didn't it make you feel bad? What does she have to do with you? That is for expression or expression. But it's because we've been trained [inaudible] for feedback. We've been trained to look for other look to others for our value, which is why we have such a hard time setting it. And if we go inside and really get the full view or when we do state it, other women sometimes end men especially too, depending on who we're dealing with, we'll police this and say, well that's not where, or what do you, why do you think you can ask for that? Speaker 1 (23:36): Well, why wouldn't I be able to ask for that? So it's us really standing in our value and speaking our, so you use it and have you visibility will demand that you use your voice and it will demand that you ask for your value. Because, and again, back to the spiritual perspective, you're an expression of unlimited source. So why wouldn't you be able to ask for X amount or Y amount and why would you be here to live with this creative gift that can allow you to be in service on a very high level and live in, in poverty? That doesn't make sense. So we have to start changing the conversation about what we're asking for [inaudible] and creatives. Because what I noticed with creatives when they get going and when they understand their value, when they're receiving more income, they're in service to everybody as a whole. Speaker 1 (24:37): They're really looking at solving problems. Creatives look at solving problems, answering questions that, that a lot of other disciplines don't even ask. Yeah, that's a really good point. So I'm, I want to pop over to the design tribe Facebook group and anybody has any questions? Who's watching live? We do have a comment from Jen, Hey Jen, if you're still watching. She says yes, it's so important for women to be empowered in their work in creativity. So I think that you've definitely helped inspire a lot of people today. If anyone else is watching, feel free to drop us a question live and I'll wait for just a couple of minutes to see if we get any questions. But other than that, I'm Kim, thank you so much for coming. Thank you. It's been so much fun. I'm like, Oh, I'm live today. It's been fun to be live there you go live very often. Speaker 1 (25:36): I go live in our Facebook group once a week and it's sometimes I'm happy if there happens to be one eyeball and I can just order no eyeballs and they can turn it off really quick if I mess up. It's just but it's nice to be interviewed and ask the questions cause when you're, when you're having to think of things and I'll script pain sometimes, but I'm not always as eloquent as I'd like to be. Oh, you are. Thank you. Or Juliet. I was, I was by today, or my baby gets crying, or the dogs get barking and then I'm like, I don't have to worry about that. You don't have to worry about that right now. It's all good. Right? Well, any other questions from our Facebook group right now, but I'm sure a lot of people will be watching the replay, so if you are watching the replay, drop us a comment below and we'll get back. Great. Thank you so much. Thank you. I appreciate it. Love it. Okay, bye guys. I hope that you enjoy today's and make sure to hit that subscribe button and click the little bell to get notified every time a come out with a new video and of course, make sure to subscribe to the actual podcast so that if you are busy and trying to do other things, that you're still not missing an episode. I love you guys and I'll see you in the next episode. Bye guys.
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48 minutes | Dec 11, 2019
Why on earth did Pantone choose Classic Blue as the 2020 Color of the Year?!
Why on earth did Pantone choose Classic Blue 19-4052 as the 2020 Color of the Year? Listen up to hear Classic Blue explained for 2020. ➡️FREE TRAINING in Textile Design: 🎧Subscribe Rating & Review 👉 http://bit.ly/2JkxdnE ➡️FREE 2020 Trend Guide PDF: 🎧Subscribe Rating & Review 👉http://bit.ly/35bPbAW
37 minutes | Dec 3, 2019
Should I Work With an Agent for Art Licensing?
How do you get your artwork licensed? And how do I find an art agent? Should I even work with an agent at all? These are all great questions I was getting in the Design Tribe FB Group. ➡️FREE TRAINING in Textile Design: 🎧Subscribe Rating & Review 👉 http://bit.ly/2JkxdnE ➡️FREE 2020 Trend Guide PDF: 🎧Subscribe Rating & Review 👉http://bit.ly/35bPbAW
6 minutes | Nov 19, 2019
Is Going 'LIVE' Really Worth It?
Apply to 'Go Live' with me here: https://www.laurenlesley.com/webinar-series/#anchor-link-collaboration TRANSCRIPT: Hey, what up fool's Lauren here with Lauren Lesley studio. And today I want to invite you to go live with me on Instagram or in my Facebook group. Now, if you've never gone live before, you may be thinking, what's the point? Or I'm scared to go live. Is it really that great or what's the point of it? And I want to let you know that after researching, I'm doing some market research on sprouts social. The era of live video is it's really here to stay, guys. You really don't want to miss the boat on this piece of content or this type of content marketing. So audiences, they just are, they're really looking for more intimacy. As more accounts look so perfect on Instagram. Live video just gives you this authenticity that just can't be duplicated by photos or, or a descriptions or anything like that. And that's part of the reason why 80% of customers say they'd rather watch a live video from a company rather than read their blog. So that's pretty crazy. 80% is a big, big number. Um, and at that same time, the ephemeral nature of live video kind of prompts, um, you know, people to feel that FOMO sensation where they're scared of missing out because your live video is only going to be up for 24 hours on Instagram, on Facebook. It'll stay around a little bit longer, but things kind of seem to disappear if you're just looking at the news feed anyway. So, um, Instagram live is normally where I go live, but also I'm open to doing Facebook lives in my Facebook group. Um, and to let you guys know, Instagram, uh, in June of 2018 reached 1 billion monthly active users, which is insane. So if you're trying to grow your design business or your art account on Instagram, there are so, so, so many people that you could be reaching. And a lot of, um, Instagram lives features include, um, giving priority to live video. So thanks to Instagram's algorithm, which you know, we can all hate the algorithm from time to time, but if you want to kind of play up your strengths of the algorithm than posting live video, we'll place you at the head of your followers feeds. If you're looking for a way to stay top of mind, then when you, you know, when any of your audience opens the Instagram app, they're gonna see your live video first. Um, and live video really promotes increased engagement. So with Instagram, I have a lot of companies respond immediately to client. It's use issues. You can answer questions, um, and just engage with your followers in a more real and authentic way. Live videos also such an amazing way to build relationships. You know, if you're really trying to grow your Instagram account, not just get, you know, as many followers as you can, cause that can be kind of, um, superficial. But if you really want to build relationships with people on Instagram and build that trust and um, kind of that fan following for your design and artwork, then those face to face interactions are going to be J they're just going to promote so much more trust and people will get to know your personality and it's just way more intimate and it also helps, you know, kind of promote your brand identity. I mean that kind of sounds a little corporate-y but you know, your Instagram account is a good face of your brand. So Instagram live is just such a great way for brands to kind of show their individuality and their personality and it really just brings, you know, the, the person behind the brand or the, the artist behind your artwork or the designer behind your designs. It just really brings all of that to life. So you should definitely be going live if you're not already. And I know it can be kind of scary, but it's really not that bad once you do it and it's way easier to do it with another person and just have kind of a normal conversation. It's almost just like a phone call. And now that I'm working at home, I I get a little bit lonely. So I wanna be able to talk to other designers and Instagram live. You know, if you're going to be talking to other designers anyway, you might as well get the benefits of the Instagram algorithm while you're doing it and help serve other people that may want to watch and have similar questions or whatnot. So it's definitely easier to go live with another person because you have things that you can just talk about and you kind of forget that other people are watching. When I've gone live by myself, I do get a little bit nervous, like a hope of not boring you guys and um, I don't know what to talk about next cause you're just kind of talking to a wall in a way. But when you go live with another person, it really is just like a normal conversation. Um, and other people can watch along. So I want to invite you to go live with me. I love going live with people. It's one of my new favorite things to do so you can apply to go live with me on my email@example.com slash webinar series. So I'll put the link in the description below, be sure to check it and apply to go live with me. I try to go live once a week on Tuesdays, but if that doesn't work with your schedule then I'm opening. I'm open to scheduling on a different day. So thanks so much guys on be sure to like this video. Leave me a comment if you want to go live with me or if you have questions about live video for designers or for artists, leave me a comment below. I would love to hear from you guys, um, and be sure to check out the design tribe Facebook group, which I also like to go live in my group because it does just promote like more intimacy and it's just a smaller group of designers and collaborating creatives on sharing like small business tips and things like that. So sign up to join the live Facebook group if that applies to you. Um, and I'll see you in the next video. Thanks guys. [inaudible].
64 minutes | Nov 12, 2019
Surtex vs Blueprint: Which Trade Show is Better? w/ Lisa Clow
Surtex vs Blueprint: Which Trade Show is Better? In this episode of the Design Tribe, I interview illustrator and surface pattern design, Lisa Clow, on how the trade shows compared. She exhibited at both Surtex and Blueprint in 2019 and has great feedback! She also gets real honest about which trade show she will be returning to in 2020.
20 minutes | Oct 29, 2019
Textile Design Jobs | What Does a Textile Designer Do?
WHAT DOES A TEXTILE DESIGNER DO? Now, you may be wondering, “What does a Textile Designer actually do?” and if you’re curious about the job responsibilities and the day-to-day of a Textile Designer you should check out my other video here, What Does a Textile Designer Do? Otherwise, to explain a Textile Designer’s job briefly, a Textile Designer basically creates the designs and patterns seen on soft products like fabric or apparel and is often times also responsible for the product development end of things as well which involves the construction of the actual product. 1 | FABRIC DESIGNER So not surprisingly, the most common understanding of a Textile Designer is a Fabric Designer. Fabric Designers will create commercially appealing fabrics for the textile interiors market including office, residential, hospitality, and healthcare segments. They are generally responsible for researching trends, understanding the industry needs, and coming up with original ideas for fabrics. Fabric Designers should be able to develop their designs from the concept phase all the way to the product launch. They should be able analyze their samples and prototypes in a smart way, and receive feedback openly. Fabric Designers generally report to a Design Manager, Art Director, or Creative Director. Some companies that Fabric Designers could work for include companies like Milliken, Robert Kaufman Fabrics, or Kravet Fabrics. These are U.S. based companies so my apologies for my overseas viewers - I’m mostly familiar with U.S. companies. 2 | SOFT FLOORING The next category I called “Soft Flooring” because it encompasses designing different textiles that go on the floor. For those of you who know me, you know I was a Rug Designer for 7 years working for a manufacturer in Atlanta, GA and I absolutely love rugs! If you are new here, make sure to hit that subscribe button and click the bell to get notified every time I come out with a new video. So, in the “Soft Flooring” category, you could be a Rug Designer, you could design Wall-To-Wall carpet, or you could design things like Bath Mats or Door Mats. Your responsibilities would include trend research, creating a color palette, sometimes working with private label clients or licensors, and developing new projects to show at market at least twice a year, sometimes up to 4 times a year. 3 | BEDDING DESIGNER Bedding Designers often work with private label clients and develop trend strategies that support the specific brand. They are responsible for the design, development, selection and approval of materials, trims, silhouettes, colors and patterns. Bedding designers usually report to a Design Director or VP of Design or Product Development and help execute a strategic vision that is very customer-centric. Bedding Designers also have to think about how to deliver on sales and profit objectives with their projects. In other words, they need a commercial brain when they are designing. Bedding Designers are often responsible for developing an assortment - which means you not only have to think about the individual designs, but also how all of the products will coordinate as a collection. Imagine a bed that has sheets, a duvet, maybe a quilt, Standard Shams, Euro Shams, a bed skirt, and perhaps a throw on the end of the bed. All of these items must work beautifully together on 1 bed. 4 | SOFT GOODS IN HOME DÉCOR Other Textile Design jobs involve working on a variety of textile products within a certain industry like Home Décor. For example, if you worked at a company like Envogue International, based out of New York City, you would design a range of products such as pillows, throws, window curtains, aprons, kitchen + table linens, etc, as per the project requirements. In this kind of role, the designer should understand how to use programs like Photoshop and Illustrator and should have a basic knowledge of fabric and embroidery techniques. If you have a serious interest in becoming a Textile Designer, but lack some of these skills - please check out my signature course, Textile Star, where I teach designers how to gain a more creative career in Textile Design. 5 | FASHION DESIGNER / APPAREL DESIGNER #5 is a Fashion Designer or a Textile Designer who designs Apparel. Take my friend, Alex Duffley, for example! We worked together as rug designers back in Atlanta, but then she moved to New York and became a Fashion Designer for Michael Kors. Often times, Textile Design Jobs can transcend across different industries. As a Fashion Designer, you would be expected to work with the Design, Merchandising, and Product Development teams to design compelling and market relevant designs. Depending on the company’s market and values, your core priorities may be to something like comfort, fit, and or durability. If you work in “Fast Fashion” then your core priority may be to low prices and new key trends. If you work in “Ethical Fashion” your priorities would be to source natural fibers that are biodegradable such as cotton, wool, linen, or silk, or to source recycled PET, and to ensure you manufacture products with companies committed to good labor environments and practices. You may even work with natural dyes or develop a line that has a more “earthy” or eco-friendly-looking color palette. 6 | BABY / KIDSWEAR DESIGNER #6 is a Baby or Kidswear Designer. There are several niches within the Fashion or Apparel realm and Kidswear is a fun industry to work in! Textile Designers in Kidswear are expected to create original designs, illustrations, graphics and prints that make sense for children. Sometimes they’ll have to translate textile designs into development that specify product attributes. They’ll need to understand various kinds of textile design and execution techniques on multiple fabrications, including printing, weaving, and embellishments. They’ll need to collaborate with design and technical teams to ensure high quality in production by identifying, troubleshooting, and resolving textile production issues. Some popular Kidswear companies in the U.S. include Carter’s, Gymboree, and Mudpie. 7 | ATHLETIC WEAR DESIGNER As a Textile Designer for Athletic Wear, you’ll need to think in terms of performance, durability, and lifestyle. In other words, you’ll always need to keep in mind the high energy activities that people will be doing while wearing the apparel. Does the apparel need to retain or resist moisture? Does it need to be absorbent or allow a good amount of air permeability? Should the apparel be loose or tight? As a general rule, the apparel should be comfortable and not rub the skin during vigorous exercise. The designer will responsible for researching seasonal trends in activity, silhouette, color, fabric, trim, etc. The designer would also attend trade shows, meet with vendors, suppliers, and key customer accounts as required. 8 | SWIMWEAR DESIGNER Swimwear designers will research concepts from magazines, runways, other retailers, as well as vintage designs! They will source waterproof fabrics and will approve or revise color lab dips, strikes offs, etc. Like other Textile Designers, they will present concept boards for the Swimwear Line, will work on garment construction, and will sample ideas with overseas factories. 9 | FREELANCE TEXTILE DESIGNER Now, all of the Textile Designer roles I just mentioned were described as In-House positions… However, as a Textile Designer you can also work as a Freelancer! Freelancing can offer a lot of freedom, but it can also be unstable. I DO NOT recommend trying to work as a freelance Textile Designer if you have never worked for a company before. There is so much to learn ON THE JOB and about the business side of things that it really is to your benefit to work for a company first. 10 | ART LICENSING FOR TEXTILES Also, Known As SURFACE PATTERN DESIGN Art Licensing is also a wonderful field to get into as a Textile Designer once you feel ready. It can also be referred to as Surface Pattern Design, because often times as a licensor you focus more on the 2-D side of things by presenting prints and patterns, but you don’t always have a hand in the product development. For example, you might not see new constructions developed by a supplier or what goes on with new textile techniques, new yarns, etc. Art Licensing can be difficult to get into, because you get paid in royalties. This means, it could take anywhere from 6 months to 2 years to start earning a full-time income again. Many have broken into the art licensing world by saving 6 months of their salary, leaning on a supportive family member, or freelancing or working a part-time job while breaking into the business. In art licensing, you can exhibit at trade shows or work with an agent who will represent you at trade shows such as Blueprint or Surtex. GET MY FREE TRAINING IN TEXTILE DESIGN Sign Up For My Free Webinar Training Session If You Are Serious About A Career In Textile Design: http://www.laurenlesley.com/masterclass VOTE BELOW: For your assignment, leave me a comment below and VOTE ON which type of Textile Designer or industry you’d like to work in the most! Fabric Designer Soft Flooring Bedding Designer Soft Goods in Home Décor Fashion Designer / Apparel Baby / Kidswear Designer Athletic Wear Designer Swimwear Designer Freelance Textile Designer Art Licensing
41 minutes | Jun 19, 2019
Making the Switch to a Full Time Artist w/ Brooke Glaser
Are you ready to quit your full time job and become a full time, independent artist? This video is for you! Brooke Glaser, an independent illustrator, tells us all about how she became a full time artist even though she flopped the first time. ............................................................................................ ➡️To download my totally FREE 2019 Trend Guide PDF: ............................................................................................ 1.) Subscribe to my Channel 2.) Like this Video 3.) Click the link below 👇 http://bit.ly/2La8B2H 🗣MENTIONS: .................................... *SKILLSHARE CLASS https://skl.sh/2IQHQgA .................................... *BOOK https://amzn.to/2MWJxyx .................................... 🤓RESOURCES: https://www.laurenlesley.com/resources .................................... ART SUPPLIES http://bit.ly/2H4z8uc .................................... BOOKS http://bit.ly/2J2DeGF .................................... 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I'd love to collab with fellow YouTubers on a video topics including: -Textiles -Art Tutorial -Surface Pattern Design -Character/Portrait Design -Growing Online as an Artist/Designer APPLY HERE: http://bit.ly/2Vu4V21 ............................... 💡READ MY BLOG: ............................... http://www.laurenlesley.com/blog #laurenlesleystudio ........................................................................... WATCH THE YOUTUBE CHANNEL: ........................................................................... https://www.youtube.com/c/laurenlesley/?sub_confirmation=1 ................................................ 👥JOIN MY FREE FB GROUP: ................................................ https://www.facebook.com/groups/DesignTribeLaurenLesley/ ........................................... 🤳🏻GO LIVE WITH ME: ........................................... Apply to Go Live with me below! Let's discuss: -Design Topics -Art Topics -Creative Side Hustles http://bit.ly/2UA0dKv .................................... 👋Wave at me on social: .................................... Instagram: http://instagram.com/laurenlesleystudio #laurenlesleystudio Pinterest: http://pinterest.com/laurenlesleystudio Facebook: http://facebook.com/laurenlesleystudio 📸All of my brand photography is taken by Hannah Lozano Photo. https://hannahlozano.com/ **Starred links above are affiliate links. TRANSCRIPT Speaker 1: 00:00 Hey, what's up fools. This is your host, Lauren. Lastly with the design tribe podcast based out of Beautiful Birmingham. Yep. You heard that right? We've moved. This is the podcast version of my webinar series. You'll find on my website at laurenlesley.com Lesley is spelled with an e y. We'll be discussing all things related to the design side of your online business and interviewing creative entrepreneurs. If you'd like to watch the video version of this episode, you will be able to follow along with awesome slides that I made. Super Pretty and you'll get to interact with me in the comments. I also go live in the design tribe Facebook group. If you'd rather tune in there to sign up for show episodes, go to LaurenLesley.com/webinar-series or if you'd like to join our Facebook community, check out facebook.com/groups/DesignTribeLaurenLesley, thanks for connecting with the design tribe. Let's start the conversation. Speaker 2: 01:12 Hi, what's up everyone? Thanks for tuning into the design tribe today. We have an amazing special guest, Brooke Glaser. She's going to tell us all about how to make this switch to becoming a full time artist. So Brooke, will you tell us a little bit about yourself, your background, and how you became a full-time illustrator? Speaker 3: 01:33 Yeah, so I'm Brooke Glaser. Um, I do work that is, you can find on greeting cards and gift wrap and bags, children's apparel, home decor and magazines. Um, I'm also a teacher on skillshare where I have, uh, several popular courses like intro to procreate and making the living for artists. I've been working for myself since 2010 kind of on and off. So I worked in house as a textile designer. Um, I also worked as a designer for an ad agency and I even did a short little stint at a toy company. So I've kind of seen both sides of the coin working as an artist and also working on the company side. But basically I've always wanted to just make cute stuff and I wanted to work for myself. I've always, always, always wanted to work for myself. That's kind of a, a big thing for me. Speaker 3: 02:24 And, um, so since about 2010, I've been, I've been working for myself on and off and I tried to make the leap to full time artist many, many times actually. And I fought, I fought like I totally fell on my face and had no idea what I was doing and, um, had to go into full time work cause I like ran out of money or it really just felt very directionless. And so it took me a long time to really get a really clear direction of what I wanted to do and then figure out how to do it and how to make it work. Um, but hopefully I'll be to share a couple of Speaker 2: 03:00 tips that helped me out and hopefully help some people avoid some of the mistakes that I made. So yeah, I think that's going to be super valuable for all of our listeners and viewers. Um, and thanks for telling us a little bit about, you know, how you, you know, kind of failed the first time that, um, that's really interesting and it gives you a lot of, um, I dunno, I guess a lot of credibility in terms of, you know, what not to do and then to make you sick. All right. So I guess as a first step, if you're wanting to become an illustrator or a full time artist, uh, in your opinion, do you need to go to art school to become independent or like as you, as you're getting started, you know, like you, should you work for a company first? Should you go to schools? Do you need that degree to kind of get started? Speaker 3: 03:47 Um, so as far as art art school goes to, I didn't go to art school. I actually went to film school. Uh, and I did a lot of art stuff. And I don't want to say that like, like traditional college is a worthless, cause. It's, there's a lot of great things about school. I think there's a lot of stuff that you really don't need to go into debt for. A lot of this stuff can be learned online. And even like I've, like I said, I have a skill share course on making, living in art as an artist where I teach things like pricing and how to find clients and like all lots of nitty gritty stuff. And those things are not stuff that you need to go to school to learn. But there are some things that I think, um, in person interaction and school really does well that is harder to do online and that would be like creating, um, creative connections, building, building connections. Speaker 3: 04:41 Because like if you're going to a school, you, you are probably going to have professors who are hopefully connected in the industry, can introduce you to people who can hire you or um, you know, a lot of schools have like career days where companies come in. I know hallmark hallmark tires, a lot of people, um, from like school fairs. So like that's something that you, you're going to struggle a little bit more finding online. And I also think that it's really important to learn like how to take creative critique because I'm not great at that. It's very painful. Like I'm so attached to my art, I, it's me don't tell me it's bad, but like that is like 100% part of like the working relationship is learning how to like take those critiques. And I think school does a good job of showing you that that's harder to do online as well. So, Speaker 2: 05:31 yeah, that's, that's interesting. I like how you said it's not worth going into like a major amount of debt over because I feel like that's my big thing is I see, I've seen a lot of artists are, a lot of people, I guess go to art school and then they have to end up getting a different job that's not even creative because they're just massive amounts of debt and maybe, I dunno, maybe the school wasn't really great at fostering those connections with companies like hallmark, like you, like you said. Um, but it is great. I mean, not that, yeah, I like, not that it's worthless or not that it doesn't teach you. Um, Speaker 3: 06:04 and I think that is a really, really big thing, um, to consider, especially if you are wanting to go into business for yourself because when you are in debt, like having that financial stress of like, oh, I've got like a $600 student loan bill that I have to pay this this month. Um, puts a lot of stress that is, makes it hard to do other things. So I think community colleges are great. I think state universities are great. I think, you know, like all of that. If you can get a full ride, heck yeah. Go to an art school, go to an art institute, that's amazing. Do it. So. Right, right. Speaker 2: 06:38 I totally agree. And if you can't get a full ride or you know, a big scholarship, then I would say exactly what you said. Go to a state school or go to basically you're a cheapest option that kind of gives you that degree and you can learn. But, um, there is a lot of online learning you can do on top of that so you can kind of fill in the gaps Speaker 3: 06:58 if it's not the best school that, you know. And I think, I think school is really great if you are somebody who has a hard time, um, maybe setting deadlines or, or restrictions on yourself, like, oh, I'm going to do this thing, then it's really great to be like, Oh, I'm in class. Like I'm putting money down. Um, but honestly, like almost everything I think can be taught online. Like there's so much great information. I mean, youtube is free. Skillshare is incredible. There's creative live, which also does a lot of teaching. There's creative bug. There's so, so, so, so much though. Speaker 2: 07:32 Right. All right, well cool. I'm glad to get your opinion on that. Um, it definitely aligns with my thoughts as well. All right. So if you're already working as a designer and you're dreaming about going out on your own as you have experienced, um, and I have as well, and being your own boss, what are some of the key first steps Speaker 3: 07:52 that you need to take? Um, so what I can say from my own experience is that, um, you want to be really specific about what it is that you want to be doing. Um, for me, like maybe I was just thinking at first like, oh, I just want to make art, I just going to make this like art that I enjoy making and, and I don't know, I'll just find somebody, but the more specific you can get about it, like the more success that you're going to have on like actually making money at it. So you want to think really specifically about what companies or clients you'd like to have and um, really think about what kind of work would they buy and make exactly that kind of work. So, for example, like if you're doing greeting cards, you don't want to just do greeting cards, like just like put any kind of art under greeting card, go to the store, see the different sections. Speaker 3: 08:43 Like there's birthday cards, there's wedding cards, look at the color palettes that they're using. Look at, um, how many birthday cards versus how many sympathy cards do they sell? Well, obviously if it's a bigger birthday card section, they buy more birthday art. So you want to be thinking about art that you can make that burnt. They are to whatever, you know, um, and it's not that you have to do exactly what they're doing. Like it's totally fine to do your own unique take, but it's important that you do the research and understand what it is, um, why people are doing, why companies are doing those things. So the biggest thing is having a good portfolio of work. Even if it's just like six pieces, um, that you're proud of, that a company could look at and say, Oh yeah, that works for us. We can take that right away. Speaker 2: 09:31 Yeah, that's really interesting because you, especially as a new artist starting out, you're probably trying to figure out which direction to go in. And if you wanted to do something like greeting cards, you might, you know, it's good to know like, okay, what categories am I designing for such as birthday or wedding, but you also want to offer something different and that's kind of in your own style. You know, you don't want to offer them something that they already have because that's not going to be exciting or you know, show something different for their line. Speaker 3: 10:00 Yeah, and I, and I would also say it like that's such a fine balance too, because I think a lot of companies that are like, oh, this worked really well, so let's just do another version of it. So it's not exclusively like, yes, it has to be total unique and out of the box. But I think I'm most artists what to do something unique and different. Like, I don't know, I don't want to just like copy everything that's out there. So, yeah, totally. You're so right. Speaker 2: 10:25 Okay. So the next question is, do you need to save six months of your salary? We kind of hear that anyway, as we're starting our first job or whatever. And I've never been able to do that. I'm just going to be honest. But um, if you're trying to go out on your own as an independent artist, is that something that you absolutely need to do to kind of get started? Speaker 3: 10:47 Uh, I have also never saved six months. Uh, so a bad, bad entrepreneur. Um, but definitely at least three. Like I really would like encourage people to do three months. Some people do really well with having this pressure of like, oh no, I have to make money and making it work. Uh, there's also that fine balance of like, again, having financial stresses as hard to, it's hard to be productive, um, when you're scared just out of your mind. Um, but you really do as like a, as an illustrator, you really do need to have leeway because, um, even if you are working, you might not get paid right away. So if you're licensing, you might not see money coming in for a year because it takes a year from them buying the art or licensing the Ark and producing the, um, whatever it is, and then putting it into stores and then getting your payment. Even with like, you know, graphic design clients or whatever. Like you might have like net 30. So when you build a client, they may not pay you for 30 days or 15 days and you can set those terms for yourself. But again, it's not going to be like you're going to get a regular paycheck in most cases, um, like, like clockwork. So you just need to have that, that leeway, that extra money so that you can keep going and keep paying your utilities. Speaker 2: 12:13 Right. So I'm interested to hear a little bit more about how you did it in your personal story. So you saved three months and then did you have to go back to work full time? Because I know, I mean, I'm trying to license designs as well and I'm lucky because I can like lean on my husband a little bit. He's like covering the rent while I'm like trying to build this because yeah, you're not going to, if you're licensing, you're not going to get paid for a year or sometimes even two years is what I hear. And I'm just getting started with this. So I can't really give too much advice of what I wouldn't do because I'm still figuring it out. But um, how do you sort of like fill in the gaps with your income if you've only stayed for three months but then you're not getting paid for like a year out? Speaker 3: 12:52 Right. Um, yeah cause you're like, well how do I keep doing this if I have to go to a full time job again? Like it's like super stressful. Um, so, uh, the, I'm thinking specifically of the first time that I did that. Yeah. I think I said three months and I was like, I had no idea what I was doing and just like ran out of money and had to get a job. And so that was really crappy. And what worked the second time around was that I got a part time job and that was like my saving grace. Um, so I the, I've, I've done it twice, uh, two different ways. I've had like, um, creative part time jobs and doing that kind of work like absolutely drained me creatively and I really wasn't able to be as productive as I wanted to be when I um, went, got off of work and tried to do like my, um, my own personal illustration work. Speaker 3: 13:48 What really worked well for me was getting noncreative jobs. So like I worked at a yoga studio and because I do aerial silks and they did aerial silk classes, so I got like really discounted aerial folks classes and I just worked at the front desk. So it was, it was super low pressure. It didn't take a lot of my creative energy and it helped me, um, supplement those bills as I started building up my clientele. Um, you could easily do this with a serving job or a retail job, especially anything that gives you flexibility so that you can, um, okay. Hopefully set your hours a little bit so that you're taking advantage of your, the hours that you're most productive, whether that's morning or nighttime or whatever. And I'm going to go into the non creative job when you're, when you're not. Speaker 2: 14:34 That's a really interesting point. I wouldn't have thought to go to a non creative Java. I mean I've um, I've, I haven't had to work part time but I have considered freelancing again, um, for like an in textile design since that's my background while I'm trying to build my licensing. But that's interesting that you, you're saying that that drains you and it actually kind of like maybe hurt your life licensing side a little bit. Whereas if you are in a non creative job, you're kind of like waiting all day to get home and be able to make something. Speaker 3: 15:03 Yeah, I think that was probably the key motivator because I was like, ah, I don't, like when I worked at urban job, I was like, I don't want to be doing this. I hate this. Why am I doing this? And that, that like really like motivated me to do that too. Although I will say that, um, like doing like freelance creative work is totally legit. Like that's a great way to do it because you get to set your own hours and your own rates. And I mean that's, that's creative work right there. And like you, as you build up the other stuff, you can just cut that stuff away. So unless he liked doing and then you do it. Speaker 2: 15:35 Yeah, no, I liked doing it. It's just, I think I'm a little bit like, oh, like would it be a conflict of interest if I'm freelancing for this company and then I want to license something that's like in the same industry, you know what I mean? So like that's my only hesitation right now and I'm just going to have to like talk to them and see if that's something that they would care about or not. Speaker 3: 15:55 Yeah. Well, and I would say that if you were in house then that would be in your contract that no, you're not gonna, you're not gonna compete. But if you're a freelancer, you have to do that. How else are you going to pay your bills if you aren't like working for as many people as possible? Like obviously they'd probably be like a nondisclosure agreement where you can't let them know like their competitors know anything about their way that they do business or the trends that they're going for. But so yeah, that that's true. That could, that could totally vary by company to company. But I don't think it's fair for somebody to ask a freelancer to be exclusive personally. Yes. He says the one who is not running the business that cares about, Speaker 2: 16:37 I think I'm just so used to being in house that I'm like, oh no. Like I can't do, you know, rug designs for myself if I'm doing it for them. But yeah. Speaker 3: 16:45 Well yeah, like I know a lot of companies won't even let you freelance like on anything. Well some companies won't let you even like do like your own side projects, which I think of crazy. Yeah, it's a little, Speaker 2: 16:55 it's a little controlling. All right. So the next question is, in order to become independent, do you have need to have like your own established art style before you really make that leap so that you, you know, kind of have I guess, your own voice, um, or your own aesthetic as you're moving forward and as you're going independent into your own business? Speaker 3: 17:18 Um, I think the most important thing is that you have a way of standing out and having like a distinct style is like a really great way of doing that. Um, but the bigger picture being that like it's your strengths. What is it that you are really good at that you can do but that not everyone else can do. And that could be your style. Like, like literally how you draw. Um, but it could also be like the kinds of things that you do. Like if you're really good at lettering, you should lean into that cause not everybody can do lettering, um, or are really, um, good at your presentation of your art. Like that. Not Everybody's great at that either in that can help you stand out. Are you really good with people? Like how can you put yourself in a position where you are dealing with people in person because you're really good at in person interactions. Speaker 3: 18:05 And some artists are like very introverted and not really good at talking to people or being on the phone. Um, like for example, I'm really comfortable in front of a camera and so I like talking to people and so video is what helps me to stand out from other artists and I'll make videos of myself. Like I do like teaching online. Um, I do videos with my art that helps me to stand out. If you're a good photographer then like you should be taking photos of your work and like a lifestyle photo of, of your art can be a lot more eye catching sometimes than just the art itself. Um, yeah. And, and style also like, um, isn't just necessarily how you draw something, but it could be like your sense of humor. Like, if you're really good at puns or like conceptual work, having that really conceptual strong ideas can help you stand out from other artists who just make like me just cute things, you know? Speaker 2: 18:58 Yeah. Cool. All right, well the next question is, how do you find clients once you go full time and how long can you, can you expect it to take before you can expect to make a full time income again? So I know we kind of touched on that with the licensing and it can take a year or sometimes two years before you can make a full time income and maybe you can supplement with a part time job. Um, but how are you going to find clients once you do you go full time and how long can that take? Speaker 3: 19:29 Um, so, so these really are two different questions. Um, uh, yeah, so I'll dive into like how you can, uh, find clients, because I could probably go on like this forever, but, um, so there's a ton of ways to find clients. Um, you can go shopping and anytime that you go shopping and you see something that looks like, uh, oh, that's really cute and illustrated piece or whatever, look at the back of it, see what the tag says, find them, take a photo of the tag, see who manufactured it and look them up. That's a potential client right there. Um, you can do trade shows, there's lots of different trade shows for different markets, but you can also research trade shows. So for example, I like to do art that's really good for kids clothes or just like children's market. So I was like, oh, what could I, what, who would buy this kind of artwork and children's clothing? Speaker 3: 20:25 So what I did was I looked up trade shows where people who've made children's clothing, where they sold their art or their, not their art there, their clothes or their products or whatever. And so when you look at, when you research those kinds of trade shows, you can see a list of WHO's exhibiting. And all of those people were potential clients for me. Um, and I didn't have to even go to the show. Like, I could just do that research. Um, there's also a book called [inaudible], the artist and graphic, the graphic, an artist's market book. That's probably not the right word, but it's, um, you can, yeah. Speaker 2: 21:04 Did they do it in the notes and, um, you can, you can let me know what it is. Speaker 3: 21:10 So it's, I find it to be a little bit outdated, but like what it does is it basically lists in different categories, all these different companies that have historically purchased artwork and it's quite thick. And it, you still need to do the research to see like, Hey, is this a company that my artwork would actually fit for? But it does list in theory like contact information and what kind of art and how much aren't they, they usually buy per year. So it, I wouldn't like totally rely on the information in there, but it's a really great place to start looking. Um, and like all of this work obviously has a lot of research involved and if you're like really not that into research, like I am, um, you can get a collective together. So when I um, started out again on my own, I started a collective called Pencil parade and we pooled all of our resources to uh, do the marketing. Speaker 3: 22:04 So like not just our financial resources but our time resources. So everybody was saying like, Oh, here's some clients that we could work with. Here is some clients that we could work with. These are different great markets that we'd like to work in. Um, and we split the effort of, of sharing new work with those clients. So once, so that's kind of the first half of finding clients. The second half is sending them work. You really have to always, always be sending them new work. Like every month it took me like they're my biggest client now. I wrote them for six months and they didn't buy anything and after six months now there, they bought their first piece and like they've been a repeat client since then. So always sending new work even if you don't hear anything back. Yeah. Speaker 2: 22:48 Yeah. That's interesting because I guess if you're not hearing anything back, you might think, oh, it's not a good fit or they're not into my look or whatever. So how do you kind of balance between, um, I mean, do you just continue to send everyone that you think would be interested new work or do you have a way of sort of filtering Speaker 3: 23:06 got out? Right. Cause it's kind of like a lot of artists and hundreds of people work every month, like all the time. And I, I wouldn't do that. So for me, what I would do is I would get really specific, say like, Hey, is my work actually a fit for this company? Like would this work actually do well? Could that get, I actually see this okay. Um, in their lineup and then, um, if the answer is yes, you know, uh, I would probably write for like a year and if you don't hear back after a year, maybe it's just time to move on and, uh, to a new strategy or, or something else. I think six months a year is a real, like sometimes silence means no, but sometimes silence means they have so much going on and they don't have time to reply to everybody. Art Directors are really, really busy people. Speaker 3: 23:57 They can get hundreds of emails, you know, all the time and they like literally don't have time to reply back and say, oh, this is great. Um, I'm sending it to a presentation or oh, you know, we just bought for this season so we don't need anymore. Or, uh, this will be great in three months. You, you really, really, really do not know why they're not replying. Because in order for them to be replying, that would be a fulltime job and their full time job is making the art. So, um, there's another couple of ways. Uh, so I use MailChimp to send out newsletters and if I can see that somebody is always opening my newsletter, even if they're not replying to me, I'm going to keep sending them stuff because they're reading it, they're looking at it. Um, MailChimp gives you like a, I've read this thing. Um, there's also, uh, an APP for chrome. I use Gmail and it's called streak. And you can also see if people have been opening your emails. And again, so like if people are reading my emails, I'm going to keep sending them. And if nobody like I can't see that they're not answering my emails. They're not opening. Well who knows? You don't actually know if they're not opening. You only know if they actually are. Um, I can give you like a Speaker 2: 25:16 false negative. I'm sorry, I'm like rambling, rambling on all good idea. Here's an idea. All good information though and okay, so if you're sending some of these companies new art every single month, how much is too much or too little to send them? Speaker 3: 25:35 Um, I would say that. Okay, think about it this way. You are like, imagine that you get a hundred emails a week from people. You want this to be short and easy. So you really want to like see what the artists and decide yes or no. So I would send at most eight pieces and at least honestly you can even set, if you have like a PR the perfect piece for somebody just send one, it's fine. Um, but, but honestly I tend to do anywhere from two to four, two to six. Um, I would also, if you can attach it into the actual body of the email, because a lot of people can't open attachments for work. So either I would attach jpegs to the email or I would embed it like, you know, when you can like copy and paste it. Okay. Speaker 2: 26:29 Yeah, that's interesting. Cause when I was following up after blueprint, I wanted to like put everything in a zip file to like make it smaller. But if they can just open it and see it immediately, that's probably easier for you. Speaker 3: 26:39 And, and for, for them, they might have instructions not to open zip files because, because like, especially at big corporations, they like it. They're like, oh, we don't trust you not to download a virus. No Zip files for you. Speaker 2: 26:55 I didn't know that. That's interesting. Speaker 3: 26:57 I've only worked at smaller like manufacturers and whatnot. So, yeah. Well, yeah, I worked at a smaller one too and they were like very like, no, be careful. Be Very careful. Speaker 2: 27:07 Cool. This is probably just the tech person, not necessarily the size of the company, it's just whoever's the tech person. I hear you. I hear you. All right. So what are some different routes that illustrators can go down in terms of industries? You mentioned you design things for like children's industry, whether it's clothing or whatnot, but you know, when I was like growing up in high school and even in college, I used to think that illustrators only worked on children's books. So that's, I mean, that's crazy to me now, but like if you, if you've never been in the industry, if you, if you're not a designer yet, you might not understand exactly like what are the industries you can work in. So if you'll tell us like, what are the other types of jobs that are available and like what's important for illustrators or is it important for illustrators to diversify in, you know, among different industries when they do go solo? Speaker 3: 27:59 Yeah, totally. Um, yeah I didn't, I didn't even know that like surface design was a thing until like five years ago. Speaker 2: 28:07 But you weren't the rugs. I mean that's, well I did. Yeah, eventually I did. So I was an oil painting major in school so that tells you like in double majored in art history and then I did graphic design for four years cause I was like, Oh I guess this is the next best thing to being a fine artist. You know? And I hate to graphic design. And then as I was in that job, that's when I started seeing these other artists that were designing a lot of patterns and how I was like, oh like how do you get that career? Like I've never heard of this. Like no one in my, you know, liberal arts school like mentioned. So it's funny. Yeah. So I figured it out eventually. But you know, when I was choosing a major and all of that, yeah, I didn't, I had no clue what surface Speaker 3: 28:45 that was totally my experience too because I was like, oh, well if I want to make money as an artist, I have to be a graphic designer, a web designer. And that's like I am. I did it and I hated it and I was really not that good at it either, not my thing. Um, and for me in my head it was like, oh, either you like have like an Etsy store and you make crafts or you are a fine artist. And so actually that, um, that there are kind of like two splits of making money as an, as an artist. Um, one way is working with companies and the other is selling to customers. So, um, and like in boring business terms, that would be like B two B business to business or B to c business to customer or consumer or whatever. But that's boring. Speaker 3: 29:30 Let's not talk about it that, right. Um, so as an example, if you sell greeting cards in your Etsy shop that's working with customers, you are selling to customers directly. And if you sell your art to hallmark who makes greeting cards and they sell it to their customers, that's working with a company. And the only reason that I bring this up is because that the way that you, um, market yourself to those two, those two different ways like working to customers versus companies is different. The way that you try and sell to them is totally different. Um, and I kind of talk about this more in my making a living, uh, as an artist class, kind of like the different pros and cons and the differences of Blah, blah blah. But like in like the business side, like, you know, if you're working with companies, you could be working for magazines doing like editorial stuff and that could be like anywhere from, uh, you know, there's food magazines and there's like sports magazines if feel like illustrating sports things. Speaker 3: 30:32 But like a lot of like portraiture gets done in those magazines. Like, you know, like maybe like a little illustration of the author or the team who works on the magazine. Um, let alone just the topics that the magazine covers itself. Um, there's also, like you were saying like the textile and home decor, uh, kind of work and there's greeting cards and stationery, fashion and apparel. There's video games. Uh, there's TV and animation. Like there's like concept artists who make backgrounds and like the ideas for what a character would look like. And that's like a whole nother industry itself. Um, there's advertising which can be anything from the packaging on, um, soap or cereal boxes to murals on the inside of like the apple store. Um, and then there's like you were saying books, so that could be children's books. That could be like if you go into the bookstore, there's a whole world of other kinds of books too, so you don't have to be into kids' stuff. Speaker 3: 31:32 Um, graphic novels and comics. And that's all on the business side if you're just working with businesses. But if you want to just do exclusively your own thing, like you can also open an online store where you make stickers and pins and prints and all of that stuff. And then you can be selling to your own customers. Um, you can self publish your own books, you can teach art, you can, um, sell your art wholesale to other retailers who sell it in their stores. Um, you can do in person markets. Um, I think, I think I've, I've, I've, I've gotten enough over this, but there's like tons and tons of ways, um, and different markets that you can, that you can work in Speaker 2: 32:14 and so awesome to hear the variety and like you can just see all the different personalities that were you working in these different industries. Yeah, totally. Um, okay. Speaker 3: 32:23 And you are still right. Um, uh, diversity is really important to actually diversifying your income streams. Um, for example, like when the 2008 crash happened, like if you had had all of your money coming from one company, um, you could have been absolutely devastated, but it's really important that you do a variety of work. And actually like you're, you're likely that you're going to need to, um, a lot of licensing deals. Like you don't make that much money in them. So like, you need to make sure that you're, you're working some with this one company in some with this company. Um, and, and a good mix of like having money that's coming in right away versus licensing and passive income. Like there's, it's really important to have a whole mix of all of that. Speaker 2: 33:09 I know you have your skillshare classes and you also have a youtube channel, um, which is awesome, but is that a good way to also kind of supplement your income as an illustrator if you're not afraid to like get on camera or work with people and kind of, um, you know, get in front of people and teach. Speaker 3: 33:23 Yeah. Um, so this was, this is something that I also did as a part time job. Um, even before online, like I worked at a museum and I taught art classes. I worked in art schools. Uh, I taught adults and kids like a, have you ever done like any of those? Like, um, have you ever seen any of those like a drink and paint classes where like, everybody's got like a glass of wine that's, those are really great steady sources of income for artists and that can help you. Um, well if you love teaching then it's great because you get to paid to make art and show other people how to make art, which is it totally a valid way of making money. Um, and if you're like, ah, whatever. Like it's also another way to make money while you're building up the other parts of your business as well. Speaker 2: 34:13 Right. Okay. So I guess my next question would be then, um, how, like what is your final advice for anyone who's wanting to, to make the switch to be a full time artist and can you tell us a little bit about what you did? You know, maybe the second time around that was super successful and allowed you to, you know, become a full time artist and not have to go back to another full time job. Speaker 3: 34:36 Yeah. Um, uh, creative community. Get involved with your creative community and whether that's online or in person or both? Ideally both. Um, it's incredibly important because especially people who are trying to do the same thing that you are, it's going to make a world of difference to be able to ask them like, oh, how are you doing this? Or what do you think? Is this my, I'm trying to do this way of getting clients. Is this a good idea? Do you think this is a good idea or do you have any advice or help for me and help them? You never know where those connections are going to lead to work down the road. Or like collaboration's where like you lift them up so that they get seen more and they lift you up and you get seen more. Um, they're going to understand your struggles. They're going to understand, they're going to be able to celebrate your wins all around. Like creative community is super, super, super, super important. Speaker 2: 35:29 Awesome. So you would say that was the main difference between the first time you tried and then coming around the second time. Was that having that creative allowed you, um, or helped you, maybe gave you advice as well, you know, into becoming Speaker 3: 35:43 honestly, yes, yes. Uh, well probably it was partly experience, like knowing a little bit more of what I was trying to do, but also like I, I was, I was, I was going back and forth with, um, like my, my, um, collective pencil parade and there was something about that accountability of like, okay, well we've got to do this marketing effort by this date. We've got to send out these postcards to these clients. And just like having that extra like, um, motivation and also like pressure, not to just let it slide and be like, it's okay, I don't have to do that thing. Right. That's interesting. That's really, really helped. Speaker 2: 36:19 That's interesting that you send out postcards. Um, do you have a favorite social media platform for your marketing efforts? Uh, with Pencil parade or either just for yourself, Speaker 3: 36:27 email, if it's, if it's with companies, email, email, email, email, email. Um, I love Instagram because it's fun and it's easy and I think it's a great second portfolio. You never know what art directors are looking at it, but I don't, I have never been found via my social media platforms. I think it's all come, not that people let, not that our directors don't look at them. It's not that it's not in, it's not insignificant. It is, um, important. But I think most companies that I've worked with have found me because I reached out to them. Um, hopefully as I, you know, like grow in my career that will switch and people will discover me. But right now that's, that's not what's happening for me. It's all email. Yeah. Speaker 2: 37:12 Interesting. I love that. And they say that email marketing is definitely not dead, so it's, no, not at all. Yeah. All right, well I'm brook, where can everyone find you online and tell us a little bit more about your skill share class if people are wanting to take your skills, skillshare class and find out a little bit more about, um, how to make the switch to a full time artist. Speaker 3: 37:35 And you can find me on skillshare. Um, I'm Brooke Glaser on there. You can just kind of search for me. There is a, I've got an intro to appropriate class that shows people how to use procreate. Um, the making a living as an artist class. Uh, it really does cover like a lot of stuff that we've talked about a little bit more in detail. Um, pricing, um, helping yourself, like figure out what your business strategy is. Um, and then you can also find me on Instagram and a, I'm paper playgrounds on Instagram because nobody seems to remember how to spell my name, either one of them correctly. If they get one right, they get the other wrong. Um, and I also have a mailing list, so I do, um, anytime that I come out with a new class or I'm doing a meetup or a workshop in like a specific city, I send that out in my emails. Um, and you can sign up for that, uh, on my website, which is BrookeGlaser.com. You can also find that by going to my Instagram and uh, there's always links to find things everywhere. I have a youtube channel too, but. Speaker 2: 38:41 Awesome. Thank you. Oh, tell us about, tell us a little bit more about your youtube channel before we sign off on what kind of videos are you posting there? Speaker 3: 38:49 Ah, nothing right now. Speaker 2: 38:54 What are some of your most popular videos? Can you tell us that? Speaker 3: 38:56 Um, so I, I do some uh, some blogs just about like my day to day, like life on it's uh, as an illustrator working freelance. And I do some like advice like how to set goals and that sort of thing. Awesome. Speaker 2: 39:12 Well everyone, thank you so much for tuning in today. If you liked this video, please give it a thumbs up and make sure to subscribe to my channel. Hit the little bell so you get notifications every time we come out with a new video. And thanks so much. We'll see you in the next [inaudible] Speaker 1: 39:28 say, thank you so much for listening to the design tribe of podcast. I hope you enjoyed the conversation today. Here comes the part where I need to ask you for a little favor. Help a sister out. Next time you're in iTunes, please leave a rating and a review. Seriously, please. Only things of few seconds and it was quite literally make my day for real. It helps this podcast get found so that other often people like you can join the dialog and connect with each other. And as a quick reminder, you can watch the video version of the most podcast episodes too. To get notifications. Head over to LaurenLesley.com/webinar-series and remember that Lesley is spelled with an e y or check out the design tribe Facebook group where I'll be streaming on Facebook live as well. Have a great day, a great attitude, and a great life.Talk Soon. .................................... Tags: .................................... laurenlesleystudio full time artist become a full time artist become a full time designer independent artist independent designer independent surface pattern designer independent illustrator independent artist 2019 becoming an artist becoming a full time artist transitioning to a full time artist how to become a working artist how to become a licensed designer how to become a licensed artist how to quit your job and become an artist starting an art business steps to becoming an artist artist to entrepreneur full time artist income full time artist meaning design tribe brooke glaser paper playgrounds
12 minutes | May 31, 2019
Do You Need an Art Style? Join the Art Style Challenge + start your 90 Days project!
Guess what starts TODAY!!!⠀(I'll get to that in a sec.)⠀ But first think: Do you really stand a chance as a designer/artist/creative who's MAKIN' IT if people can't even recognize your style?⠀ What exactly is your signature? What does your voice sound like?⠀ I'll be real with you: when it comes to daily routines I'm literally the WORST. One night I'm up late, the next day I'm up early.. Discipline just ain't my thing. BUT! I really AM a hard worker (... on my own time, lol...) And...⠀ One of the most important things you can do as an artist is: developing your own Art Style. Which is why I'm hosting a 90 day ART STYLE CHALLENGE that goes all summer!!!!!⠀ YAY!!! I'll be sharing daily prompts in my IG Stories and in the Design Tribe FB Group for the next 90 days.⠀ 90 days is really the perfect amount of time to accomplish anything you set your mind to. Quarterly goals are SO attainable! They're totally in your reach - yet, you also have enough time to really make some SERIOUS change!⠀ And look, I totally failed at starting the 100 days project so please don't feel intimidated by this challenge. It's here to help you - feel free to do as much or as little as you are able.⠀ Everyone's schedules are different, which is why I'm making this challenge EVERGREEN. Woooo hooo!!! Yes, you heard that right. Join the Design Tribe FB Group and you can refer back to the prompts at any time. You can do them in order or skip ahead to the same day the group is on.⠀ Use #90DaysofDesign and tag me @LaurenLesleyStudio - I'll be sharing my favorites in my IG Stories! Make sure to follow my hashtag #90DaysofDesign to cheer on fellow artists.⠀ TRANSCRIPT Speaker 1: 00:01 Guess what starts today? Okay, so I'm actually going to get to that in just a second. But first I want to ask you a serious question. Do you really think you stand a chance as a designer or an artist or a creative who's really making it? If people don't recognize your style? I guess I'm asking you, do you have a style? What exactly is your signature? What does your voice sound like? What is your aesthetic look like? I'll be real with you. When it comes to daily routines, I'm literally the worst. And I found myself in this situation where I was leaving my full time job back in January and I was kind of scrambling because I was like, Oh God, like I don't have my own style. What is my style, what is my style? And it's because I didn't really put in the work to starting to develop my own style before I went out as an independent artist. Speaker 1: 01:00 Right. And part of that was because of the situation. You know, I, my husband proposed to me and then all of a sudden we were moving to Alabama and my current job wanted me to continue working full time remotely for a while and I was also planning a wedding. So like on top of all that, I don't really have a lot of time to discover my in develop my own art style, but how'd I started, you know, years ago then I would have been well on my way to recognizing my own style, you know, my, my Instagram would've looked cohesive, etc. Etc. So the point is one of the most important things you can do as an artist is developing your own art style. And that's why I'm hosting a 90 day art style challenge that goes all summer. So it's awesome because it's a summer challenge and I'll be sharing daily prompts in my Instagram stories and in the design tribe Facebook group for the next 90 days. Speaker 1: 02:02 So if you're not a member of the design tribe Facebook group, go over to Facebook. You can type in the URL, facebook.com/groups/design tribe, Lauren, Leslie, Leslie is with an e, y as I've mentioned, and you'll be asked a few questions just to make sure that you actually are a creative and make sure it's a good fit. But I'm just fill out those questions. I am not going to accept anyone who doesn't answer that questions y'all. So you have to answer the questions, um, and joined the group and basically it's going to be so amazing because everyone's going to be posting their 90 day project and you're going to use the hashtag 90 days of design. And in the Facebook group I'll be posting and daily prompts, um, I'll, I'll put it out every Saturday. Yay. Sabado Sabato but I'll, yeah, I'll be putting out the prompts every Saturday and there'll be daily prompts. Speaker 1: 03:03 And seriously, if you know you're overwhelmed one day and you're like, oh, I can't get to my art style challenge, it's okay. Like, no one's going to die. It's going to be fine. And I'm sure I'm going to have those days as well. Just Fyi, I'm not the most disciplined person in the world, but I had to get my act together because I was showing my designs and collections at blueprint, which happened two weeks ago. So yay. So I had my very first exhibit, um, and I, you know, exhibited at this show and it was really awesome. And basically I was like, you know, starting in, starting February 1st I was like, crap, I'm showing, I'm showing my work at the show, but I don't even have a style. I don't have any work. What am I going to do? And instead, so usually when you're under the gun like that and under a bit of pressure, you're able to figure it out and just pull it off. Speaker 1: 03:56 And that's what I did. And that's also kind of, you know, it was my inspiration to create this challenge because I was like, holy crap. Like I was able to create my own style in 90 days. Now is it the best style in the world? No, but it's mine and I like it. It's going to continue to develop and get better and progress. The more, um, the more art I make and the more challenges I do. So 90 days is like really the perfect amount of time to accomplish anything you set your mind to. Quarterly goals are so attainable, seriously, their bite sized, you know, it's not like an annual goal where we were like, Oh yes I have the whole year to accomplish this and you know, it's going to get done eventually. No like you have 90 days, this is happening now. So it's totally in your reach but you also have enough time throughout 90 days to really make some serious change. Speaker 1: 04:49 And that's what I love about this art style challenge is that it is three months. You know, it's not going to take you all year. It's not like a commitment like a four year art school or something like that, but it is enough time for you to make some serious change and some serious progress in your work. And that's what I'm super excited to see. Um, and look, I totally failed at starting the 100 days project. Like, so, you know, I mean, I, I hesitate to even join some of these challenges sometimes because I'm like, oh, I'm not going to be able to do it. I'm not going to be able to finish. I'm totally gonna feel like a failure and I'm here to tell you that I'm making this an evergreen challenge so that you don't feel that way. You are here to, you know, do as much or as little as you are able to. Speaker 1: 05:36 I realized that everyone's schedules are different. Some of you have kids, I don't have kids and I'm still gonna like fail a day here and there at this challenge. So it is okay. I promise. Um, you know, it's, it's going to be evergreen so you can literally do it prompt by prompt by prompt and if it takes you longer than 90 days, that's totally cool because hey, you're still doing the work. Um, I'm just making it a 90 day challenge because that is what I did in getting ready for blueprints show in New York. Um, but my first trade show and it really did work. Okay. Okay. So 90 days is just a great schedule and I am going to be keeping with the schedule just to keep everyone motivated and to kind of keep the group together. But if you need to go at your own pace, it's totally cool. Speaker 1: 06:25 Just go back to the Facebook group, you know, go prompt by prompt. And I'm also going to be sharing these prompts every Saturday in my email list. So if you're not a part of my email list, then you will want to go ahead and sign up for that. Um, and you'll do that by just joining the Facebook group already. And if you're not part of my email list or you're not getting my emails for some reason, just shoot me a private message and I'll gladly add you. So yes, that is pretty much it. I don't have a guest on today. I just wanted to tell you about the art style challenge that's going to be happening all summer long and I want you to join and it's going to be amazing and mixture to use the hashtag 90 days of design and tag me at Lauren Leslie Studio. Speaker 1: 07:11 I'm on Instagram because I'll be sharing my favorites and my Instagram stories as well. And I want to encourage you to also follow the Hashtag cause you know how you can follow hashtags on Instagram now. So follow the Hashtag 90 days of design. 90 is literally the numbers, nine zero days of design. And because I want to encourage you to share each other's works as well. That's how you gain exposure, right? If one person shares my work to their audience and you know, 10% of their audience follows me, then that's amazing, right? And if five people shared my work, then that would be a 50 new followers, you know, so it just, I wanna encourage you guys to share each other's work. I'm going to be sharing your work, but you guys share each other as well. Um, because it's just a really great way to promote each other and give back and just encourage each other and make friends. Speaker 1: 08:08 Right? Um, but you do want to ask people if it's okay. Um, you can, you know, you could put it in your stories that you're happy to share. If people respond to your stories so that way you don't have to go in and DM like a million different people. But that way people can respond to your story and then you can just share your favorite um, piece from their feed just like that. So it's a great way to share works and get exposure. And guys, if you do this art challenge, you are going to have your own art style in 90 days or less. I mean, sometimes it happens really quick once you really commit to making them this amount of work and you're just, you're never going to find your art style if you can't commit to making the work. And like I said, if you miss a day is okay, it fine. Speaker 1: 08:55 You are not a failure but you still have to do the work. Okay, you have to get up the next morning and do it the next day or stay up a little bit later, you know, 30 minutes later or draw something on your lunch break. You know, you have to commit to doing the work and just find a way to do it and prioritize it. So that you can have your own art style, because we all want to be like famous in our own field, right? Like now, like Hollywood famous. But you know, we want to be, we want to do a good job. We want, um, we want to be the best that we can be, um, and have that rewarding feeling. So anyway, thank you guys for tuning in. I will catch you in the next episode. Bye.
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