How To Submit Drawing To Disney
How to be a Disney Artist
"How tin I be a Disney artist?" Considering this is the number i question I get asked nigh often, I decided to brand the reply the topic of my offset Medium story.
You lot love Disney. You have your entire life. You depict Mickey Mouse like a champ and anybody says you should work for Disney. Y'all simply need someone to tell y'all how.
If y'all want to piece of work for Disney in animation, then become to schoolhouse, apply for jobs and eventually work your mode into the function you want within the company. Though the answer is straightforward, the path is not without challenges and there is no guarantee y'all'll state that dream job. Those folks who make the films … they're masters of their craft. They've worked long, difficult hours and are 100% deserving of the credit they receive. For that reason, I remain and watch the rolling credits at the terminate of a film in the theater. Try information technology sometime, read the names and bear witness respect to those who made the film y'all just enjoyed.
If you're wondering about how to be a self-employed artist who has license to paint Disney fine art (similar me), the reply is not elementary or straightforward.
There is no application to submit. There is no phone number to call. No audition to attend. No prerequisite classes to complete. And even more importantly, there are no ii stories alike.
All artists who are licensed to paint Disney volition take their own stories about how they came to exist licensed. Beginning, allow me to share my own story and and so I'll impart advice for those seeking to land their dream job of painting Disney characters for a living.
MY STORY
Upon graduation from University of Fundamental Florida (Go Knights!) with my shiny new Criminal Justice degree, I was convinced I'd immediately country a job in federal law enforcement since I'd successfully completed an internship with the U.S. Postal Inspection Service. On the day my "deplorable, only we're on a hiring freeze" alphabetic character arrived, the possessor of a pocket-size animation studio coincidently saw my fine art hanging in my parents' home while he was existence given a tour (their home was on the market for sale). He hired me on the spot.
Until that moment, art had been nothing more than a hobby. Going forward, even so, art would become my passion.
My time at the pocket-sized studio was brusque-lived. I institute myself at another studio and so another. I'm not sure what the success-rate stats are for small studios, but in Fundamental Florida I can adjure to how difficult it is for studios to stay afloat. Still, those years were invaluable for me. I worked alongside former Disney animators who didn't movement W when Disney closed their Florida-based blitheness studios. Their talent, their skill … the well-nigh amazing artists, visionaries, storytellers … I mean, wow.
Wanting to go on in art when all the same another small studio closed its doors, but existence apprehensive most committing to yet another, I sought a larger opportunity that I felt might be more than stable. I landed a job at EA Tiburon (Electronic Arts) as a graphic symbol creative person creating human being likenesses for games including NCAA Football and Madden. The job was amazing. Permit'south only be honest for a second — if you know these games, then you know how fulfilling it is to say y'all're part of the team contributing to the game.
During down times, when I had to expect for certain elements of the game to run their grade before I could go along, I sketched. I sketched places I'd rather exist. I sketched surf shacks, streams in forests, romanticized tree houses and even dreamed upwardly a small brick gallery called Rob's. Before long, my cube was covered with pen sketches on lined notebook pages. And though I sketched in black and white, my mind'south eye saw the works in colour. My honey of fine art (something that had been a hobby which landed me my first studio job) was returning. After work at EA, I turned several of those sketches into oil paintings.
Every hour that wasn't spent at EA, I spent at the easel. With each painting, I sought to "up" the one before it with technique, lighting, limerick, story.
When my time at EA came to a close for the third year, I thought long and hard nearly my future. I asked myself if a future in studios was what I wanted? The answer was no. If I was honest with myself, I wanted to paint … full time.
And then I did.
I took a leap of faith. The hardest affair I ever did was tell EA no when they called again for the side by side cycle. It was scary as hell! Non going to lie. But it meant long hours and I knew that if I committed to EA, I wouldn't accept time to paint and build a body of works, which was essential to my longterm goal.
In the outset, I painted lighthouses, shacks on the banks of rivers, manatees, airplanes. My subjects were all over the identify. However, one matter remained consistent across all my works - a fashion resembling animation. My background in studio blitheness was without doubt showing through. Why not embrace that style? Who says blitheness tin can't translate into fine art? Who says animation doesn't equate to talent? Who says technique, lighting and limerick can't be stiff in a painting that was meant to brand the viewer grinning? No ane!
So, I began painting in a style that made me happy. Not a way that I thought would be popular or a style that would result in sales (although one can hope). I developed my style and perfected it and gave it everything I had.
When I first painted Beau the frog with his large, blithe optics and human-like expressions, I feared what the art world would remember. Was he likewise unproblematic? Was he too cartoony? Would other artists consider my style besides childish and see no talent?
I took my first two Fellow paintings (Hey You and Hey Me) to an art festival on the streets of Ocala. The reception Swain received past festival visitors blew me away. People liked him! They asked questions. They wanted to know his story. They wanted to buy him! Both originals sold on the offset solar day of the festival and people were asking for prints.
I had no idea what other artists thought of Young man, but I knew that buyers (and at present collectors) found happiness in Beau. They smiled when they saw him. THAT was all I needed to know.
Finally, I'd found my style (deemed fine art animation) and I'd found my subject area (story-telling through low-cal and characters).
I focused on those two things with every single painting going forward. Beau became so popular that, even when he wasn't the feature of a painting, I started hiding him in scenes, such as the collection Places I'd Rather Exist.
Respond THE QUESTION ALREADY
Now, here comes the Disney part. I know the lead-up was long, but I experience it's important to know I didn't originally ready out to be a Disney artist, non even an artist.
If you lot're still hanging in here with me, let's review some of the points I hope artful hopefuls accept taken. 1) Though I take a college degree, it is not in art. Go to schoolhouse. Definitely become to school. Art schoolhouse or not, a degree WILL open up doors and at least get you lot the interviews. ii) Notice your own unique way in fine art. Copying the styles of popular artists will go you lot absolutely nowhere, only being unique will turn heads. iii) Just because yous've defined your own style does not mean you lot should ignore technique or composition which are important to all styles and mediums.
FIRST Exist AN Creative person
Before you try to be a Disney artist, only be an artist.
Again. Be an artist.
Before y'all exercise Disney, do you lot. Study. Learn. Develop your style. Paint. Don't pigment Disney. Paint you lot. Pigment your ain work, not someone else's.
My opportunity with being a Disney licensed artist came via invitation. I received an invitation to paint a few trial Disney pieces considering the powers-that-be liked the unique manner and accomplishments that they saw in my existing trunk of piece of work. My manner was unlike anything they already had in their library of artists.
That invitation came because I had been doing my own thing and someone noticed. The invitation did not come because I had already been painting Disney on the side (which, by the fashion, profiting from this is of course a violation of trademark, copyright, you proper noun information technology.). Don't risk your hereafter opportunity to go along legally with a license. I run into so many artists selling paintings of Mickey on Etsy or via Instagram. Seriously, "stealing" from Disney is not the way to communicate your commitment to their brand.
Every bit a side notation, I fifty-fifty plant (cheers to a fan who spotted it and shared the link with me) an "artist" painting replicas of ane of my Disney works and selling them as originals on Etsy. Bated from not painting my signature, the work was not altered in any way. Because this violated more than but my own copyright, the publishing company from Disney became involved and messages were issued. The creative person apologized maxim, "I'm just a smalltime artist trying to make money." I'm not unsympathetic to trying to earn a living … I am, however, unsympathetic to plagiarism, theft and general dishonesty.
I'm a Disney fan. 100%, passholder-style fan. Prior to my invitation, don't think I had not taken discover of Disney art hanging on the walls of my favorite galleries. Don't think I didn't long to be "part of their world." I knew, however, information technology was more than important for me to stay truthful to my own paintings. I'd worked hard to build my career thus far and I'd taken a lot of risks, but I didn't dare accept for granted or jeopardize the opportunities I had earned past trying to skirt the police force. That didn't make sense.
When the correct people took observe of my existing fine art, decided I might be a practiced fit and decided to give me a shot, I jumped!
Get OUT THERE
And so, your question though … how did the "right people" notice my art? Well, exposure. (I'yard going to talk about what some folks think is "good exposure" in another Medium story after on that might go a little rant-similar, and let me clinch you free fine art is not "good exposure.") Sure, a few hundred people a day might see my piece of work on gallery walls here and there, only nearly the folks that don't stumble into a gallery?
Website: I am fortunate to have a fairly brilliant wife who insisted early that I have a fantastic website showcasing my artwork. She congenital me a modern site, which she updates regularly, that has a fashion reflective of my art. Near importantly, the site is informative (bio, list of gallery locations, where to purchase art, links to social media, etc.) and shows all of my work with a search feature.
Social media: Tin can't say enough. Merely I'm guessing that topic isn't actually necessary anyway. Anybody knows the drill.
Exhibits: Early in my career, I entered my works into a handful of curated art exhibits with prizes, which often included a small amount of printing. I even managed to win a few ribbons and a best-in-bear witness. The claiming with exhibits is that they often require a commitment of original art to be hung in their show for the length of the showroom, which tin be a month or more. For a working artist whose originals sale quickly with galleries that need to be constantly refreshed with new art, committing to an showroom is not realistic.
Press: When you have existent news to share, write a printing release for local papers, community magazines, television set stations, bloggers to whom your news might be relevant, etc.
Don't Snub Your Nose At Opportunity: I was asked to allow editions of my paintings to exist sold by a third party company who auctioned artwork on Royal Caribbean cruise ships. Sounds strange, right? I made a few bucks, not a ton. I got a free cruise hither and there when they wanted the creative person to announced on board. The exposure was unmistakable. My website hits went berserk with international visitors from all across the globe. All of a sudden, I had collectors and fans who, though we didn't share a common language, were connected via the love of art and a tiny greenish frog.
Basically, I'g saying that by ensuring my art gained audience, doors were opened. I met a publisher and those who represented the Disney art plan plant me via my publisher and extended an invitation.
MANAGING EXPECTATIONS
Even with a Disney license, know that there are rules. Securing a license doesn't mean y'all can paint simply whatsoever onetime thing y'all want. A license comes with standards to ensure the Disney brand is protected.
It makes sense. Disney has worked hard to establish an identity and personality for each character, allure and film and of form they don't want to see those brands reinvented. It wouldn't brand sense to paint Dumbo hanging out with Ariel. It wouldn't make sense to paint Dori pond through the waters of The Jungle Cruise. And it certainly wouldn't be appropriate for Snow White to be kicked back with a glass of wine.
Each painting passes through a multitude of eyes before it is officially approved and considered for publication. Feedback is common, particularly to ensure the characters are on model in terms of proportions, characteristics and personality. Again, it makes sense. These are the works of another creative person and, as a painter, I respect that artist's piece of work. Information technology'south not my prerogative to paint Belle wearing a imperial ballgown simply because "I'g an artist and I feel purple suits her soul." No. Non going to happen.
INTERPRETATIONS
Every bit an artist (an artist commencement) with a Disney license (or any other license for that matter), information technology'south important to use your imagination. Painting a screenshot from a moving picture is non super creative and might be considered ho-hum. Often times, I will paint a popular scene from a different perspective or dissimilar "camera angle" so that the scene is sort of re-imagined while staying true to the original work.
Sometimes looking at concept fine art from a motion picture will help spur your imagination. However, exercise so with caution. At that place is a ton of fan art on the internet — a lot of it really expert. Be sure the concept art in your Google search results is in fact from the motion picture's history and non the work of another artist or even an fine art student completing a school assignment on concept art.
Even though I'g stressing the importance of interpreting the film for your canvas, it's all the same important to remain truthful to story, characters, environment … interpretation doesn't equate to modify.
HAPPILY EVER AFTER
And then, how to become a Disney artist?
- First and foremost, exist an artist.
- Develop your own unique style.
- Become your personal line of art into the world.
- Surround yourself with people who support your career and will provide sound advice.
- Think ahead and know that decisions yous make now tin and likely will affect your future.
- Be certain that a license is right for you (understand the details).
If you've done all of this (and hey, give information technology more than than a few years to build your career), and so you're on the correct runway. If the circumstances are right and you, as an established artist are offered an opportunity to try your brush at painting Disney, and then fantastic and congratulations on your accomplishments!
If the circumstances don't present themselves, then fifty-fifty still I congratulate yous on your accomplishments. Paint because you honey to paint. Even if the career or financial returns don't pan out the way you'd hoped, be proud that you're living a life fulfilled with art and creativity.
My terminal piece of advice: ask other artists. I don't know it all and this is just my own story and these are my own tips. Every artist has their ain story. Take this for what information technology is — just my point of view. My tale is non a sanctioned or sponsored story. These tips didn't come from Disney or any publisher. I'chiliad merely answering a question that people ask me a lot. Best wishes — keep painting!
Want to know more?
If you've gotten this far and want to know more nearly my art, please visit RobKazArt.com … to know more about the journey or participate on a deeper level, please join me over at Patreon.com/robkaz.
Source: https://medium.com/@RobKazArt/how-to-be-a-disney-artist-99c5551c12a
Posted by: paigewilier88.blogspot.com
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