Transcripts
1. Class Introduction: Are you a creative
looking to start your own business
or side hustle? Want to quit your day job
and break out on your own, but not quite sure
where to start? Well, neither did
we when faced with the same decision
about 15 years ago. But after working together to
build a thriving business, we've learned what it takes to find success at
creative freelancers. In this class, we'll be sharing our top tips for starting
your own creative business. F DKNG. We're a design in illustration studio
based in California. I'm Dan Culkin, this
Nathan Goldman. And we've had the
amazing opportunity to work with some pretty
incredible clients, like packaging design
for Hines and Cliff Bar, for working with
bands and festivals like Dave Matthews
Band and ***** o. The movie studios like
Disney and Marble. The course of our
career, we've learned new ways of nurturing
our business, providing security for ourselves through multiple
streams of income, and keeping ourselves
organized and accountable as just a two person team wearing
lots of different hats. In this class, we'll cover
the nine most helpful tips we've learned to help kick
off our own creative career, including becoming a specialist, refining our portfolio to
attract the work that we want, using our process as
a marketing tool, making our own products, landing new clients, keeping existing ones and so much more. There's one thing we hope you
take away from this class. It's a clear sense
of how to take the next steps in getting
your creative practice off the ground or elevating the freelance career that
you already have in motion. So if you're curious
about striking out on your own
or you've already started your
freelance career and want to level up your
creative practice, this class will cover
our most helpful advice to keeping the business side of your creative deter healthy. We hope to see you in class.
2. Let's Get Started!: In this class, we'll be
sharing our top nine tips for getting your creative
business started and thriving, whether you're just
starting out or looking to level up
your existing practice. The nine lessons
we'll be covering are leaning into
becoming a specialist, refining your portfolio, provide insight
into your process, our keys to marketing, finding and nurturing clients, what to charge for your work, diversifying income streams, becoming your own client by
making your own products, and keeping yourself
accountable as your own boss. For this class, it might
be helpful to have a sketch pad or a tablet for
dotting down ideas or notes. And if you have it a portfolio or business idea to review. We'll be sharing examples
from our own business and portfolio to
demonstrate how we've put these lessons to
use in our own work. For your project for this class, we encourage you to try some or all of these tips and
share your progress, experiences, and outcomes
in the project gallery. You can easily get started
with the lessons that include downloadable worksheets
which you can find in the projects
and resources section. If you have your
own tips that have worked for you in your
own creative career, please feel free to
share those as well. We hope that the project gallery and discussion boards can be an active exchange of information where we can
learn from you as well. With that, let's jump
in and get started.
3. Lean Into Becoming a Specialist: If you're right out of college or you're just
starting your career, you might consider
yourself kind of a jack of all trades because that's what school basically
taught you to do. Dabble in a bunch of
different types of projects, figure out what you like,
what you don't like, kind of prove yourself
in different areas. But what we've
found is that one, you may not love doing every
different type of project, and you may be better
at some than others. And that actually works out
great in the real world. What we've found is
Oftentimes, as specialists, we could be more in demand
and charge a higher rate than a similar type of designer or creative who might just dabble in lots of
different things, but doesn't really have
a clear specialty. I kind of learned this mentality in college, creating
my portfolio. I applied to the Graphic
Design program at Long Beach and realized very quickly
that I had specialties. Like, I was really
into illustration. Not so much into
classic graphic design, but the combination
of both of those really excelled in
gig poster work, specifically just like posters. But I wasn't as good at
making, like, you know, logos or editorial design or just kind of the random stuff that you're asked
to do in college. So as I was applying
to the program, I realized that my portfolio
was all over the place, but a couple teachers pointed
out that I had, you know, better work than others
in certain categories, and it was the gig posters,
no surprise there. So they actually
recommended that, you know, maybe college isn't
for me anymore, and I should kind of just
lean into this small niche. I actually applied
to the program and didn't get in, but at the time, I was working with Nathan and making gig posters
for the Troubadour, and I was really
enjoying that work. And so I kind of just
decided at that point, like, I'm kind of
done with college. I got my degree that I needed, and I'm going to just lean into making gig posters
as a freelancer. Yeah, so it was
really our passion for the intersection of music and art that led us
to seek out poster jobs, and getting to work for the Troubador was one
of those first examples where we were able
to start building our portfolio in the thing
that we cared about. At the time, it was
kind of just a hobby, and we submitted our first three poster
designs to the Troubadour, this historic venue in LA. And it was a way for
us to kind of build our portfolio for what was
really a hobby at the time, but slowly was starting
to become our job. And I think our passion for the work is what
helped us excel at it. And over the years, we were able to make hundreds of posters
for the Troubadour, start to make connections
with other clients. So even though we weren't
offering everything that we thought we might
based on college courses, we were really starting
to make a little bit of a name for ourselves in
this one particular specialty. What happened throughout
this process, too, as you can see, we also dabble in a bunch of
different styles. So even though we had a niche, and we were specifically
only making gig posters in our portfolio. We really trained ourselves
to work in all types of ways, even though it was a
very narrow avenue. Another thing that we
actually ended up doing in our career was exploring other things outside
of gig posters, and at the time, website design was a
really popular thing. So we dabbled in it with
a bunch of clients, and we realized that, you know, we were good at it, but we didn't necessarily
like doing it, nor did the work that we create was, like, super impressive. Yeah. And so we decided even though websites felt
like a no brainer, you have to offer
that as a designer, especially back in
the early 2000s, when making your own website
wasn't really a thing. We found that we were becoming more website maintainers
and not designers, and we had so much enjoyed the closure of wrapping
up a gig poster, whereas these website projects just kind of went on forever. So we decided to eventually just remove websites
from what we advertise that we do and started to narrow down our
specialties more and more. And I think we're much
happier today and more successful because we're not just trying to offer
everything to everyone. We're just trying
to offer the things that we're good at and
that we want to pursue. So I think the main
thing to kind of remember here is that there's kind of a ven diagram of things that you're good at or
things that you enjoy. And the merger of
those things is really a good sign
of what your niche, your genre that you should be choosing to be a specialist in. And for us, you know,
gig posters was that. I kind of realized this when
I was in high school with, like, let's say, being
on the track team. I was really good at running, and I was really
good at going fast. But I truly hated it.
It was exhausting. So I could have chosen
to pursue that and, like, go into college and being a track, you know, runner. But I decided not
to because even though it was something
that I was good at, I knew that I wouldn't
be happy doing it. So I leaned into other things. Obviously, I'm glad I chose art, but that's kind of
a good example of, like, you know, choosing your specific things
very carefully. It's not necessarily
something you're good at or something you enjoy. You have to try to
find the merger of both those things combined. Professionally,
one of the things for us that we found that was the merger of those worlds
is working in icon design. In gig posters, we had done
so much detailed work. It was kind of a nice breather to almost do the opposite of that and start
to think about, instead of highly
detailed illustration, how can we distill elements
down to their most basic? So icon design was something
we got really interested in. And it actually today is one
of our main calling cards for kind of bigger
corporate clients doing brand
illustration for them, which is often in the form of doing these big sets of icons. So, again, something that
kind of started as a passion, something we like
doing for ourselves, but then the client
started recognizing, and now it's one of
our main specialties. So now it's your turn.
We encourage you to the VN diagram worksheet for this lesson
where you can take 5 minutes to brainstorm
about your own skill set, look at the things that
you like doing the most, and look at the things
that you're best at, and hopefully there's
some intersections there, and you can start to narrow down a specialty for yourself.
4. Refining Your Portfolio: Along with the
Jack of all trades mentality that a lot of
us leave school with, our portfolio can sometimes reflect a similar quality
of outdated work, work that we're not
interested in doing anymore, maybe just one of everything. And after reviewing hundreds
of portfolios in our career, we've found specific ways that have helped us refine
our own portfolio. And these are some
of our top tips. Have our portfolio open here, and you can see that
the landing page for our work section is
basically our featured work. And this is a way of just displaying
the best of the best, a very small amount of
work that's been chosen. Our mentality is to keep things really clean,
really simple, and show just enough variety, but also show our
current standards in terms of our capabilities. So nothing too old
pretty up to date. And if we want to get
more specific with it, if there's a client looking
for more specific work, our work section has
a drop down menu where you can see specifically
posters or art prints, but the landing page itself is kind of like a sampler of
everything that we can do. We try to limit it
as much as we can because this is not meant to be an archive of
everything we've done. I use the analogy of a
photographer who might have taken thousands and thousands of photos throughout a career, but maybe the web portfolio
only has ten photos. And the benefit of that is that anyone who visits that site will assume that all of their work is up
to that standard. So we really encourage you to limit your portfolio
to the fewest number of examples thing
to keep in mind is that it's not about just
displaying your work, but how it can be displayed
in the real world. This is an example of the
work we did for Cliff Bar. We made all these illustrations
for their packaging. So we might as well show
digital mock ups of how that packaging actually
looks in the real world. So here's an example of that. And it also goes into, you know, not only showing the
actual full art, but showing how it
looks like on the box. So think about
your work in terms of all the different ways
that can be displayed. Feature the work itself
as the most important, but show real life usage
of it in the real world. Of course, if you
have access to photos or videos of the actual
thing that was produced, that's great, but it's
not always possible. So oftentimes we use
resources like yellow images.com or different online sources
for photoshop mockups. Illustrator has some built
in mock up features now. So there's various
ways that instead of just showing the flat
art that you created, how to give it more life and show what the final deliverable
actually looked like. And another thing to keep
in mind when it comes to kind of taking deeper
dives on your work. We do find that it's important to show the process behind it. On your main portfolio page, you may show kind of
the featured projects, but you can actually make it
linkable to another part of your website where you
can show case studies of how the project was made. You can show the sketches, the mood boards, you
know, stuff like this, the frankid w right art
print that we created, not only are we showing
the actual art itself, but we're showing a bit
of a behind the scenes. So We've made process
videos for stuff like this. We're showing the inspirational
photography that we used to create the work,
the original sketch. And we find that when you show the process
behind something, you're also showing
the value behind it. So you're showing the work
that was put into it. And it's not necessarily
you want to have something like this right on the front
page of your portfolio, but try to make space for
it in your website where people can take a
deeper dive and understand the work that
you put into your work. If the portfolio piece
that you want to share doesn't exist
yet, then create it. There's no rules that you can't create something for yourself, even if you haven't
had the opportunity to create it for a client yet. We have some friends that
really wanted to get into design for
the beer industry. So they made up their own
brewery to make a logo for, design the packaging, show an example of what the
tap room might look like. By creating that project
in their portfolio, it led to real work for
actual paying beer clients. So, by all means, feel free to carve
out some time to make the projects for your portfolio
that you want to share. Think of the stuff
that you want to do again and make that
your portfolio. Don't put stuff in your portfolio that
you didn't like doing, then kind of get
pigeonholed into the fact that you might
get hired to do it again. Now it's your turn to
evaluate your own portfolio, so you can use the worksheet for this lesson to walk through
your own portfolio. Use that checklist to
determine how you can refine, how you can remove
extraneous older work, and just overall make
a better impression. And if you get stuck,
feel free to ask your fellow classmates
for their opinion. Often, we find it's really
helpful to take a step back, have someone else give
their impression, and that can be really
helpful to make a really refined and
effective Portfolio.
5. Provide Insight Into Your Process: A lot of our success
has come from not only sharing the final
product of our work, but also our process
along the way, both as a teaching tool
for fellow designers, but also as a way of showing our process
to potential clients. Our first process videos were really just a
passion project. I had worked in film and TV, and recording our process
and making videos was just kind of a way to
keep afoot in filmmaking. But what we found
is that some of our first process
videos that we made for posters we designed for the Black keys and for
explosions in the sky, that these videos started
going kind of viral and became a calling card for
us and a way for us to advertise ourselves
on social media. So it was kind of
a happy accident that something we
were passionate about doing also became one
of our best marketing tools. Yeah, we use process videos
all the time in social media, and we use it for our art
prints, or gig posters. Our process videos
are essentially time lapse documentation
of our entire process, both illustrating and
designing, usually a poster. We'll oftentimes
start with, like, the sketch, and all
the way through, we'll show the vector
illustration and all the way down to sometimes even the separations
for screen printing. The way we do this is
we use apps that create screenshots of our
screen and compile it into a sped up video
of the process. We often find that
that's a bit helpful to compile into a process
video in the end. The other option
is to do more of a real time recording
using Quick Time. The only problem with
quick time is that it will take real time
recordings of your screen, and that can make
really large files. So depending on the length of the video you're
plan I'm making, that could be a little bit
more cumbersome that way. And another thing that
we kind of keep in mind with process videos. And this might be tough if
you've never done before, is that it does kind of feel
like Big Brother is watching you because you literally are recording your screen as
you create something. And that can oftentimes make you feel a bit watched and a little bit harder to be creative when there's documentation of what
you're doing in real time. So, we find that it's helpful
just to kind of, like, forget about it and kind of let it go in the
background and, you know, look at that
footage much later. And let yourself be free
in the creative process. But you'll be happy in the end that you have
that documentation. And our process videos aren't just that raw screen recording. We do take the time to edit. We use final cut pro, but whatever software
you're comfortable with. And we do edit for time. So typically, we pick
a song in most cases, we're making process
videos for gig posters, so we'll pick a song
from that artist, kind of cut out any
unnecessary footage, things that are really kind
of boring or monotonous. We try to highlight the parts of our process that might
be more interesting for people to see and cut together a video that's usually in
the five minute range. We show these process videos on our YouTube page or website. You can see here,
this is our homepage to our YouTube channel, and we have both process videos and another thing that we
call Deep Dive videos, where the Deep Dive
videos are kind of like showing our
entire process video, but showing it in such a
way that we can kind of do a play by play of how what's happening in the
actual process video. So Nathan and I will sit down, watch our own process video, and kind of answer questions
that people might have. We often find that, you know, after posting these four
minute process videos, a lot of people are like, Oh, I want this to be slowed down. Can you tell me what
you just did there? And these deep dives are kind
of a way to get into that? Process videos aren't
the only way to share a peek behind the
curtain of how you work. We also use case studies as a way to show our
process, and again, to give potential clients a look at how working
with us might go, and also just a way to show off the work in a more in depth way. So this is an example of a project we did
for the US Open. We got to design the key
art for the event in 2022. And this kind of takes a look at both the final
illustration we made, but also trying to show it in specific real world settings
of how it was used. In this case, the photo of
the program here is actually a digital mock up
that we compiled from a stock image
and placing the art. So when we have the opportunity to use digital assets like that, it can be really helpful to kind of put your
best foot forward, even if you don't have
a photo from the event. Luckily, for us, for
this particular event, we actually did have
photography from the event. We were invited to go, and we
took video, we took photos. We actually even used photos
from other photographers. So it was a way for us to really feature the artwork in
lots of different ways. So if you do have
the opportunity to have your work
displayed in real life, and you can take
photography of it, we find that's a huge
advantage when it comes to showing the process behind it and case studies, for example. So whether you choose a process, video, sharing your sketches, photographing your work, or otherwise documenting
your specific process, we find that showing
a bit of how you work can help garner more attention
from potential clients, make them feel
good about working with you because they
understand a bit more about how you work
and just create an overall impression and
value to the work that you do. So now it's your turn. You can use the case
study checklist that is downloadable
as part of this lesson and take a look at how
you might be able to best share your process for
the type of work that you do. And it will also
be helpful to keep this worksheet as a reference so that when you start
on a new project, you can start to keep
in mind the types of resources that you want
to hang onto as you go. So hopefully by the time
you complete that project, you'll have a bunch of
assets that you can use to compile a case study or
other ways of showing you.
6. Our Keys to Marketing: In our line of work, it
can be difficult to use traditional marketing
channels like advertising to bring
in new business. But congratulations, if you're already following any of the previous steps
in this class, you're technically already
marketing yourself. That's because we've
found that just organically sharing our
process and sharing our work has been the best way for us to
bring in new business and get our work in front of potential clients and
potential customers. We mainly prioritize
channels that we own. So when I say that, I mean, having a website with a
portfolio in your work, and also a newsletter is
really, really important. There's also traditional
social media marketing, but oftentimes we find
that that's not going to guarantee to go to the audience
that you have in mind, or oftentimes it's inconsistent. Another thing to keep in mind is when think about
marketing yourself, too, it's not just about
marketing your work. We're kind of getting
better at that. We've spent a lot of our years kind of showing the final
product of what we created, but kind of forget
that we're human beings behind the process. So it's also important to market yourself
as an individual, as an artist, whoever you are, because you are intrinsically
linked to your work. Yeah, and when you're
thinking about that, it's important to think
about your brand voice and what's going to
be authentic to you. Is it a humorous voice?
Is it more serious? Your audience will
be able to tell if you're playing a
character or not. So it's important to
play to your strengths. And, for example, if you feel
more comfortable talking about highly
technical information rather than the abstract, then focus on what
feels good to you. And when it comes to showing your work and
advertising yourself, we think of our website as
kind of the hub for all of it. Social media, the
newsletter that we have all leads to our website. And our website holds everything you need
to know about us. It not only shows our work, but also shows a bit of an introduction and information about ourselves as individuals, who we've worked for, and some
more more recent projects, any events that we're
going to be part of. So it's really important that
our website has everything that's there that's needed for people to understand who
we are as a company. When it comes to the newsletter
portion of our marketing, we find that this is
super helpful because it literally will put information
in people's in boxes, and they immediately
will have access to information that we're
willing to share with people. When it comes to social media, it's a little bit more
of a different story. You know, Sometimes you might
be kind of shouting into the darkness and
you're not even sure if anyone's seeing
what you're posting. Um, we're constantly dealing
with different algorithms. Every social media platform
slightly different. But with a newsletter, you actually have direct
control over your audience, and even, like, a
designated sign up page that has its own URL. So this is an example of our sign up page that
we have on our website, and we'll use this as,
like, a linkable content that we'll share elsewhere. And an example of our newsletter
is something like this. We try to advertise ourselves, I think the term we use
is pleasantly infrequent. So, we oftentimes
will try to show just enough information
and not do it so much so often that it
starts to feel like spam. And it's kind of treating
your audience as if, you know, you are your audience and how you would
like to be treated. So this is an
example of you know, three topics in our newsletter. We're going to be
talking about our one on one sessions
with Skillshare, for example, a new product. This is a digital
download that we created. And oftentimes we'll talk about, like an event that we're
going to be a part of. So this would be when we visited South by
Southwest for Flat stock. That all being said,
we do still rely on social media for
part of our marketing, albeit without having
as much control, but we still find
that it's important. So, in addition to networks
like Instagram and Dribble. We also have been using
YouTube quite a bit lately, and that's been
great because we're able to share a
bit more about who we are and our personalities show some longer format content, like deep dives into
our work, tutorials. And there's also the opportunity
with YouTube to monetize your channel once you have a certain amount of minutes
watched and viewers. So there's a few
opportunities there. And as useful as online
marketing can be. Also remember that
God ld fashion in person networking is
super useful as well. Some of our strongest
connections with our friends, our colleagues, our clients have been through in
person networking. So going to events where
like minded people are gathering is hugely beneficial. There's design
conferences, there's craft fairs, there's workshops. And we often find that those connections that
you make with people in real time are going
to be the longest lasting and the most beneficial. Another way to
advertise yourself at events like this is to
bring business cards, or get more creative with it, bring giveaways or something that you've actually
created yourself to handle somebody to tell
them, this is who I am. This is what I can do,
this is what I can make, and they'll remember that a lot more than just
fighting you online. As far as what hasn't
worked for us, more traditional forms
of paid advertising, like paying for social
media ads or paying to be part of directories of
illustrators or designers. We've tended to stay
away from that, and we found that the
more organic forms of just sharing our story online have brought us much
more attention. And it's kind of win win because we don't have to pay
for those things. So that's what we would recommend You don't
need to pay for commercials or paid advertising in order to effectively
market yourself. A lot of it can come from
just organically sharing your process and authentically
sharing who you are. Do what you can to focus on the ownable
parts of marketing, like a website, an e mail
newsletter or a blog. And don't be afraid to test out the latest
social media as well by kind of using
a combination of all those things is
where we've found sus.
7. Landing & Nurturing Clients: One of the toughest and
most elusive parts of being a freelancer is knowing where your next project
might come from. Finding new clients
can be a challenge and often keeping them can be a smoother and more
reliable path to future work than starting
the process all over again, trying to find a new client. In this lesson, we're
going to talk about some of the best tips we've learned from working with
new clients and also continuing to work
with the ones that we love. And we've mentioned this before, but one way to acquire new clients is just putting yourself out there
at live events. One circumstance
that worked out for us was going to Austin, Texas for South by Southwest. We were exhibiting our
gig poster work at Flattock, and, you know, we're surrounding ourselves
with like minded people, but we're also, putting ourselves out there to
the general public. And during this time of year, There's a lot of
music related people out there walking the halls. And we noticed somebody that was looking at our
work and he said, you know, I really
like your posters. Are you available for hire? And, you know, we were kind
of just like thinking, Yes, who are you? And he basically said,
I'm a manager of a band. Don't worry about it, but
he eventually, you know, disclosed that he's the
manager of the Black keys. And Nathan and I were like, blown away when we heard this, because obviously, you know, we're big fans of the
Black keys in their music. But, you know, we grew up
playing music ourselves, and Nathan's a drummer. I'm a guitar player, and it's, like, very serendipitous
that this happened. And what ended up
happening is that, you know, we ended up
working for this person, this manager, for
Black H Keys poster, and we were thrilled. We got to make our first
Black Keys poster, which actually ended up leading to our next Black Keys poster. So it all starts off from putting yourself out there
and doing things in person. And in addition to in person, just putting good work
out into the world, in general can be the best
way to land new work. I'd say 90% of our clients that come to us are referencing something that we've already
created and asking us to put a unique spin
on it for them. Colt calling can be another way of reaching out to clients, it can have a low success rate. So in order to set yourself up for as much
success as possible, trying to not just send generic template e mails
or random phone calls, try to customize as
much as you can. We receive a lot of
e mails that are clearly not meant for just us. They're kind of going
out to bunch of people. So as much as you can
research your client, put some specific information
about how you could be helpful to them specifically
can be a huge help. And, of course, if it can go
beyond an e mail and there's an opportunity to have
a meeting, a Zoom call, get on the phone with someone, it can go a lot further to
building a relationship as opposed to an e mail that would be easy
for them to ignore. And another way to gain new
clients or even cultivate your client
relationships that you already have is
sending out gifts, specifically gifts
that you create. And when I say gifts, I know immediately think
about the holidays. So Nathan and I kind of
came up with this plan of creating merchandise that
is self initiated by us, and we created a series
of greeting cards that showcases our design
and illustration skills. They showcase what we can
do in the printing world. So these greeting cards
were letter pressed. And they used foil. So when you see them in person, they're a a little
extra special. But when a client receives this, they also have our
information on hand, and they're kind of
reminded of our work. And they can always refer
back to our website or if a project's about to come up, they might think of us. Another thing we did was
recreated teselation patterns. If you've taken any of your
previous skill share classes, you might know that
teslation patterns are things that we got
into at some point, and we thought it'd
be really fun to make wrapping paper using
these actual patterns. And again, like, this is
one of those holiday gifts that we can send out to clients or even potential new clients. And it kind of works two ways. They receive it, but
then at some point, they're going to wrap gifts
with this wrapping paper and hand it to someone that
they're giving a gift to. And that's another set of eyes
that get to see the work. And we kind of hope that,
you know, naturally, someone might say,
who made these, and they might find our
work that way as well. So, we find that, you know, making work that can be given
as gifts goes a long way. We also try not to underrestimate the importance
of relationships and building relationships
with all people in our world in addition to existing clients
because you never know where your next
client might come from. We're getting to the
point in our career where there are students
that we've taught who are now in positions where there's the opportunity
for them to hire us. And that was actually the case when we
got to work with in and out and design
their annual T shirt. It was kind of a
dream job for us. And that came because a
talented graphic designer who worked there had taken
some of our classes and knew about our work
and was able to pass our portfolio along to the CEO and eventually land us the job of
working with them. So it's important to make connections as random as
they may seem on day one, they may come around
in the future to be a potential client. Another concept that we use a lot when trying to
acquire new clients or just new work in general is the idea of faking
it till you make it. We've been in circumstances
where a client will ask, Have you done this
kind of work before? And the short and quick and honest answer is sometimes no. We've never done that before. But that doesn't really lead to doing the
work for this client. So we've oftentimes
usually just answered, we'd love to and figure
out a way to make it work. Example of this was when we were asked by Almanac if
we can make a mural. And at this point, we've never really
made a mural before, but we knew kind of the ins and outs of how it can be done. And we've made work for them
using this isommetric style, and that was the request that
they wanted for this mural. So, we originally made this can series and it had
this isommetric style. So we used our skill set that we had and made something
even larger. One of the largest, like
illustrations we've ever done, was a 40 foot wall, but it was all
done vector based. It was in our wheel house. And by asking people around
and how murals are made, we found that there's a
vinyl distributor that can make this actually stick onto a wall and turn
it into a mural. And ended up being something
in the real world. So it all started off
with previous work, saying yes to an opportunity
that might have felt new or scary and making something completely new out of
the whole situation. Another tip for
landing new clients is to know your value
and charge accordingly, it may be tempting to kind
of low ball a price just to make sure that they can't say no to
such a great offer. But the truth of the matter
is that clients might be kind of scared off if your price seems too
good to be true. So what we try to do is just be aggressive
with our pricing, but try to charge accordingly and hope that the client
sees the value in our work. Often easier than landing these new clients
can be to simply nurture the relationships
you have and hope to continue working
with those clients. So there's a few ways
that we do that. Dan mentioned the gift
ideas that we've done. So every year, we try to send something from our
work, a portfolio piece, a product that we've
made as a gift to our ongoing clients to just kind of keep us
fresh in their mind. We also try to just keep
in touch with them. These people become our friends, we enjoy working with them. So if we keep an eye on what's
going on in their world, if we can comment on it or find a reason to
reach out to them, we try to just keep that
conversation going. Then lastly, like we talked about with
having something new, we can offer like a mural. Once we do something
new for one client, we can then go to
other clients and say, Hey, check out what's
in our portfolio. We have some new offerings. Maybe you could
benefit from some of these new things
that we're doing. So there's lots of ways
to keep in touch with those clients and keep that conversation
fresh and ongoing. So hopefully more repeat
work comes from that. Oftentimes, too, when it
comes to acquiring new work, it's helpful to kind of
let go of expectations. I think if you focus on I'm
going to be successful, and that's your
main prerogative, then you'll often find that it's much more hard
to get to that point. But if you focus on
the right things, which is things
you're interested in, things that you
enjoy, your passions, then organically, that
could lead to more work. An example of this
was when we submitted art for a design contest for
the Flight of the Concords. The flight of the Concords was something that Nath and I
both mutually really loved. We loved their
music, their comedy. They were coming out with
their new HBO series. Out of 1,000 submissions,
we were actually picked. They picked our poster, ended up being on the
home page of HBO, which was super exciting. Big milestone for us. And, you know, this led to so much more beyond
that moment of success. We actually ended up working directly with Bretton Jermaine
of Fly of the Concordes. And we found out that they were really into screen prints, and they wanted to convert the poster that we created
for the show to be something that they
bring as merchandise to a local show in Florida. And that led to kind of
this ongoing relationship of making more posters for them. So we ended up making something
for the Hollowood bowl, which was super exciting because that's where we were
living at the time in LA. And this led to international
shows and even, you know, working with them on their New Zealand show,
which is where they're from. So, long story short, like, it's kind of important just
to lean into what you're interested in and kind of let the universe bring
you work as it may. As far as what not to do as
far as finding new clients, we have steered away
from things like paying for lists of leads or e
mails, things like that. Another thing we've
chose not to do is to hire an
illustration agent, and that'll be
kind of a decision on a case by case basis. We've decided to kind
of take on the role of managing our business
and reaching out to new clients and making
that part of what we do. But if you're the
type of creative that just wants to be heads down in the work and hire an agent
to handle those things, that could be an option for you. However, we'd just
recommend that you do your due diligence,
ask for referrals, find out if the rate the agent
is charging is applying to just the work
they're bringing you or existing work as well, because in our world,
that can be up to, like, a 30% commission, so it can get very expensive
very quickly. So just make sure you
do your research. So to sum up, there's
no secret trick to landing several new
clients all at the same time. You just have to be patient, put yourself out there and nurture the current
relationships that you do have. The more reps you get in
putting work out there, the more paths you'll have
for potential new work, as well as repeat
jobs from existing.
8. What Should I Charge?: When first getting started working for yourself
as a freelancer, figuring out what
to charge can be one of the trickiest
decisions to navigate. The fear of losing out
on a job can force us to charge less than we think we should and leave
money on the table. But on the flip side, it's
also important to understand your client's budget range and what's going to be
realistic for them. For example, just
because you get hired by a huge multinational
corporation, doesn't mean the
specific division you're working for has
an unlimited budget. So when dealing with figuring
out how to price our rates, these are some of the tips that we found to be most useful. There's a couple of schools
of thought when it comes to figuring out your value and how much you should charge. A great way to start is
thinking about hourly rates. Hourly rates can be, you know, fluctuated based off of your
lifestyle, where you live, what your expenses look like, and if you're solo or
if you have a partner, so kind of figure out what you would have want
to charge per hour. Is a great way to start. But as you become more of
a seasoned professional, you'll find that it kind
of punishes efficiency. So let's say it takes you
a week to create a logo, and five years down the line, you can create the same
logo in a couple days. You shouldn't be charging
the same rate per hour. You should be thinking
about your logo prices as kind of like a
per project rate. And we kind of call that
value based pricing. So when it comes to
value based pricing, it's really based off
of you growing as an artist and understanding what you're going to charge for specific deliverables,
specific projects. And it really depends
on who your client is, the amount of time and labor you're willing to put
into the project. And also the deliverable. Like, we've found that
branding is a huge spectrum. You can be charging $500 for a logo or if your pentagram
design for the same, you know, idea,
which is a brand, you can charge $1,000,000. So that spectrum is huge, but there's also a smaller
avenue where it's like, we work in the gig
poster community where you have to
make merchandise, and there's usually a cap
when it comes to how much a client is willing to spend on specific
deliverables for that. So it's a bit of understanding
your client as well. C. Another thing to keep in
mind is usage based pricing, not everything just has to be a flat fee as far as a project. There could be a way to give your client some
flexibility if they're going to use a piece of work just in a certain region or just
for a certain amount of time. Of course, if it's
something like a logo, that's typically a full buyout because they're going
to want to own that outright and not just license it for a short period of time. But if you're doing maybe an
illustration or packaging or part of an
advertising campaign that's only going to be used for a certain amount of time, then usage based pricing
can really be your friend. Great resources on that are an article by Jessica Hisch called the Dark Art of Pricing. She's also turned that into a full workshop that she offers. And that's a great
way to start to understand what you could charge for just a
presentation fee, all different types
of usage scenarios based on time, region, number of impressions,
things like that, all the way up to
a full buyout if the client wants to
own the work outright. So sometimes that can be the gift that keeps on
giving where we might have a client come back to us after
their usage term expires, and they want to either re
up or get a full buyout. One other resource to
check out is a book and workshop called Business and Freelance and stuff by HotSpa, and that also has a lot of
great pricing resources. And if you're unsure what the budget is for
a certain project, don't put it all on
yourself to come back with a number to a client saying,
this is what it costs. Have the confidence to ask the client if they
have a budget. Oftentimes you might be
surprised that the client that they're working
with does have a set budget for this project. And then you can understand
how to stay within that budget given
the deliverables and the amount of time they're
willing to put into it. So we often find that asking the client upfront if they
have a budget can be helpful. It helps not leave any
money on the table, and, you know, you'll be surprised that it can
actually help the process. Also, don't be
afraid to throw out a number that's a little bit higher than what you're used to. We're always working
to increase our rates, and what we've found is that if we throw out a
number that's higher, it's unlikely that
that potential client is going to completely ghost us. It's more likely that they come back to the table and try to negotiate So if the client does come to you and
they want a lower rate, there are some good
techniques to pursue. Rather than just devaluing
the work immediately, you can look for ways
to decrease the scope. So reducing the number
of deliverables, you could reduce the number
of rounds of revision. Maybe if it was going
to be a rush job, you could ask for more
time on the project. So ways to lessen the workload rather than
just devaluing the work. Over time, you will realize that it's
important for you to also have a minimum rate when it
comes to value based pricing, for example, how
much you're willing to take away as a
cost on your work. For us, we have,
like, a minimum rate on a poster design, for example. And that rate has actually grown as we've
grown as a company. So you're always want to have the intention to
grow your minimum rate. There's also exceptions
to this as well. You know, This whole, you know, video is about pricing, but there's also the
opportunity to donate your time and to do
things technically for free for the right cause. You know, we've done work
for friends and family, and we offer our skills
to help them out. We've also donated
our time and efforts, our design and illustration
for charities. But those are exceptions that are kind of outside
the realm of pricing. There's a lot to think
about with pricing, but we hope these tips help set you on the
right path and feel more confident about charging
a going rate to a client. When in doubt, check out those resources that we mentioned, also be sure to ask the client
up front for their budget, and hopefully they will provide that or at least a range or an idea to get everyone
kind of on the same page. And then also just kind
of do that exercise of figuring out what you want your personal hourly rate to be, not to share with a client, but just to know as a gut check, kind of what you
need to be charging for project to make ends meet. And with all those things
together, you can be in good.
9. Diversifying Your Income: As a two person team, or if you're a solo freelancer, it can be hard to figure
out how to sustain a repeatable or consistent
income that you can rely on. So we've been looking for
ways to diversify our income, so we're not solely
reliant on when the next client project
is going to come in the door because we
don't always know. So these are a few ways that we have have been useful to
diversify our income. And one of the biggest
sources of income that we have is something you're
viewing right now, teaching. We work with
Skillshare, obviously. We do in person workshops. And even within skill share, there's other things that
are more unexpected. We do one on one sessions,
where we do kind of, like, consultation with
people, one on one, where we go over portfolios or maybe their business
plan if they're just starting as a freelancer, we have a whole
section on our website that's dedicated to this, which we call our learn section, if you go to our website
and click on Learn, you'll see that we have every skill share
class we've ever done. But in addition to that, we
have our one on one sessions, our process videos, and even a podcast that we've
been doing for a while. So we find that sharing our knowledge has actually
been hugely beneficial for us. And I think when we started
off kind of showing our process videos or or teaching what we've
learned an illustrator, the first instinct
was, like, why are you giving away
the secret sauce? But I think the concept of gate keeping is actually
hurting our industry a bit. We actually feel
that we actually learn more when we share more. So, oftentimes when we come
up with a new class and we have all these tidbits
to share with everyone, we find throughout the process
that we're learning a lot through other people
that are viewing our work that we're sharing. So we find that by being more
open about your process, it elevates our
industry as a whole. Licensing is another option
for diversifying income. And really, for any
type of creative, if you are painting, drawing, a photographer, a designer, there are ways to license your work to be sold
in stores, clothing. There's lots of different ways that an art piece
that you create one time could go on to have a long lifespan being used
in lots of different ways. One example from our career has been working with 59
parks, and for them, we made a couple different
Grand Canyon art prints that originally were
sold just as art prints, and we would receive royalties
as those prints were sold. But over time, that
art has also been licensed onto things
like field notes, notebooks, and even hand
soap that's sold at Target. So there's all these
unexpected ways that that art has
found a second life. Another way that we've experienced licensing
in the world of making money from
royalties has been our art of play playing cards. Again, we designed a
deck of cards one time, but then we were able
to release those cards in different color ways
and special editions. And every time those
cards are sold, we receive royalties
from those sales. So it may differ for you and what type of client or licensing deal might
make the most sense. And for that, we recommend checking out our
friends at Good type. They have a lot of great
learning resources about how to get into licensing, licensing your work,
whether you're going to do it independently or work
with a licensing agent. We're still learning a
lot about this world, but we're finding it can be a great source of
passive income, because, although it might be a lot
of upfront work to create the work and cultivate those relationships
with the licensees, eventually, this can kind
of get a flywheel effect going of having income from licensing that
repeats over time. Another source of
income for us that works well is selling
physical products. And we learned this through
kind of an organic way, starting off in the
Gig poster world, we would sell actual gig
posters through our website. And then that kind
of led into us making officially
licensed movie posters for companies like Mondo. And although there's
a lot of success there in terms of being able to sell those
kind of products, we also learned that there's
an IP attached to it. So either a band name or a movie name that
kind of elevated, you know, the value
of these posters. And we wanted to
create our own IP. And so nowadays, we're focusing on releasing products that
are solely self initiated, so making our own
art print series, enamel pins, and we'll go more into what that all
means in the next video, but it doesn't just stop with
physical products as well. Yeah. So because
physical products have their own limitations, we've been getting into
digital products as well, things like texture
packs and fonts, where it can simply be
downloaded rather than having to deal with the logistics of storing inventory
and shipping. So both can be create avenues
with different perks, but we'll talk about
that a bit more later. And lastly, we live in the digital world
where social media is a way to make income. It's something that we
dove into very lightly. We're still kind of
learning the ways. We're by no means tik talk
artists at this point. But we have started to look into ways to monetize
our YouTube channel. And this kind of relates back to the gate keeping
conversation of sharing your process and being more
open about how you work and finding ways to monetize
that through social media, whether that be
using ad space and getting advertising money based
off of videos on YouTube. Or having a situation where
you can actually have a paid wall through another
social media platform. So we hope that gives you a better sense of some ways that we've found to
diversify our income, but you can also download
the worksheet for this lesson and work
through the checklist of figuring out what
might make sense for your specific freelance role
and how you can diversify.
10. Become Your Own Client: Make Your Own Products: You won't always know
when a new client is about to knock on your door, but in the meantime,
there are ways to take the fate of your
business into your own hands. You can take control
of your own destiny by making your own stuff. Become your own client
before you have them, expand your portfolio and make a little income
on the side with your own product line that's specifically suited to
your own skill set. When Nathan and I were thinking about starting our
own product line, it almost kind of
happened naturally. We thought about what
is our specialty? Our specialty at the time, and kind of still is was
creating gig posters. And in the world of gig posters, those are produced in
a very specific way. They're screen
printed. So we took it upon ourselves to learn
how to screen print, and we did it the hard way. We created screen printed
posters in Nathan's garage, and that led into
our interest to produce screen printed T shirts. And we learned that, you know, that was a whole process
in itself as well. Um, this eventually led into us making art prints, enamel pens, other printed goods, but it all started with thinking
about what our specialty is. Now, you may be asking if I'm going to make a
product like this, what about the upfront costs of ordering a bunch of
inventory and storing it? So there are alternatives, and we'd recommend when
you're first starting out, maybe think about a
print on demand option. There's plenty of options
online for things like that. You could also consider
doing a pre order, and that's something
we still do. Like, we'll do a time edition
release of art prints. And basically, during
a specific window, prints are available
for sale as a pre sale. And then by the end
of that window, however many prints have sold. That's how we determine
the addition size. So we know we're only ordering as many prints
as what has sold. So there's a few ways
to kind of factor in and guard against
ordering too much. But you can basically
use those as learning experiences,
and over time, once you start to understand
your customer base, start to place bigger orders to try to get your cost down. So that's something we do now with a lot of our more
evergreen products. We'll order maybe what we think will last us a year
as far as inventory, and then we can get
a better Another way to kind of understand
your customer base is to get in front of them, go to live events and
actually put your work, you know, in a booth
and see how they sell. Some of the first things
that we did when it came to this sort of
stuff was applying to craft fairs like Renegade craft fair or Unique LA and
getting our work put on a wall and kind of seen what the public feels about them and seen how
they sell in person. And we found that,
you know, posters do sell, which is good. But there's also another
thing that we learned was that people have a finite
amount of wall space. So there's only so many posters you can sell to an individual. And what it told us was
that we need to create other types of products that can sell that have less limitations. So we started making our prints are a bit more on
the smaller side. We started selling postcards. And then eventually we now sell enamel pins and playing
cards and patches, but it expanded based off
of the customer's needs, not necessarily what we
are interested in doing. There's a whole world beyond physical products that you
can sell in your store. We've now just tapped into this, but there's digital products, things like texture
packs or fonts. DKNG just released our
very first texture pack. It's an editable texture pack that you can use an illustrator. And the beauty of digital downloads is that there's no storing of inventory. There's no shipping
or packing materials. There's no possibility
of it getting damaged in the mail or
having to deal with returns. So what's really nice about it is just the passive
income aspect of it. You do, obviously need to put the upfront work to
make a quality product, but once it's live on a website, you can wake up to orders
and realize that there's nothing else to do other than know that you sold a product. And so we highly recommend
thinking about your skill set and how it can be applied to the world
of digital downloads, because it's the easiest way to make passive
income these days. We also recommend talking to your peers about what
has worked for them. In our case, we kind
of felt like we were late to the world of enamel pins and thought maybe we
shouldn't jump in. But our peers kept
encouraging us and thought it would work well
for our style of artwork. So eventually we gave it a shot, and to this day, enamel pins are one of our best
selling items. So don't be afraid to use your network of fellow
artists and creatives, even the folks in this class as a resource to get some ideas on what you might
want to create. And when you make
your own products, not only can they be
a source of income, they can also be a way to
lead to new client work. One of the biggest ways this
happened for us was when we decided to make an icon
series of art prints. This was part of a self initiated gallery
show that we did. Um, that again, was really just a product that we were
planning to sell ourselves. But what ended up happening
is we started getting hired by other people to
design similar things. So the first time that
ended up coming to reality was with Paramount
pictures hiring us. Paramount hired us to
design a poster featuring icons of 100 of their most iconic movies.
And it didn't end there. We got hired by other
studios to do similar work. And then eventually in
the corporate world, more needs for icons arose. So we got hired by USA today. In addition to the
main USA today paper, they have a network
of newspapers, regional papers
around the country. So we designed icons
for all of those. And the work that we did for our self initiated icon work, it's kind of the gift that
keeps on giving in our career, making 50 different
icons for movies and television that
we love and enjoy, based off a passion led to ironically doing something very similar for the company Hines. We actually ended up making 50 different Hines
condiment packets, representing every state
in the United States. And had we not taken the risk of making a self initiated
project like the ICO show, we wouldn't have seen something
like this in our career. And it also kind of proved to
ourselves and to the client that we're capable of creating
a large series like this. So I think the main takeaway
is to think about what your specialty is and also being able to take
the risks of, like, making something
for yourself and kind of just letting
the universe kind of bring back work
to you based off of the amount of passion you
put into the work up front. Now, you might be thinking, how do I price my products? It's a good question.
There's definitely a couple of schools of thought. You can price it based off of how much you're
willing to spend. So, let's say an enamel pin, you want to be able to spend, $3 to make it, or that's all you can spend on it based off the
quantity that you want. And then you have to kind of start to think about
not only retail, but also the option
of wholesale. So we highly recommend thinking
about wholesales part of this equation because it's another opportunity
to make income. So if you were to buy
pin for, let's say $3, then you probably
want to wholesale it at a Keystone markup,
which is six. That also means that in order
for you to be profitable, it makes sense for you to try
to sell that pin for $12. Now, what happens is you might
find that the going rate a customer is
willing to spend on an enamel pin might
not be as high as $12. Ten is kind of like the
going rate these days. So another school thought is
to kind of think backwards. You can think about what the rate of a product
is in terms of what a customer expects and go backwards from there and try
to find what your cost is. So let's say an
enamel pin is $10, and you need to
wholesale it for five. That probably means
you need to find a cost for you at 2:50. And in order to get
a price that low, that might be about, you know, buying in bulk and trying to get that enamel pin ordered and
not just like 50 or 100, but maybe ordering like 300 at a time to make sure
that you're profitable. So now it's your turn to start on the path to your
own product line, you can download the product
development worksheet and get started on brainstorming what products you
might want to create, and also where you
might be able to solve.
11. Being Your Own Boss: Time & Accountability: Working for yourself can come
with a lot of challenges, especially without a boss or co workers to help
provide the structure of a workday or the
larger company culture and how your business
operates as a whole. So we've learned
a few things over the years about
how best to manage our time and hold ourselves accountable working
for ourselves and as just part of
a two person team. And one particular struggle when it comes to
working for yourself, especially in the creative field is finding inspiration,
especially if you're solo. We find that, you know, forcing yourself to be
inspired is not going to work. It's actually going to
kind of slow you down, and you're going to get a
little bit too tense about it. So one kind of trick that we use is giving yourself
space to get it inspired. Having a good work life balance where you can walk
away from your desk, walk away from the task at
hand, and do something else. You'll find that new ideas
kind of pop in your head. Then inspiration kind
of naturally comes when you kind of give yourself
the space that you deserve. And another thing to
kind of keep in mind when it comes to
doing your own thing, being your own boss, it's
going to take long hours. It's going to take
a lot of work. It's going to take a
lot of dedication. And what makes that go as fluid as possible is finding something
you're passionate about. We found that, like, we were really interested
in what we did. We loved illustration,
we loved design, and we put a lot of
work into what we did, but it didn't feel like work at the time because we were
passionate about it. On the flip side of putting in long hours into your passion, burnout can also
be a real thing. And inspiration really
requires a bit of balance to, you know, not just force
yourself to have to be creative on demand every
moment of the day. So we try not to define
ourselves by our work solely. It is a huge part of who we are, but it is just a part of it. So, along with that, we do try
to set boundaries and have specific hours dedicated to work and reserve time to be
away from our desk. When you work for yourself, it's easy to think
that any time of day is fair game to be
working on the project, but we find that we do our
best work when we're fresh, and we can have that balance. As far as how we manage
our work calendar. Because as we talked about, we mainly deal in project fees, we don't have to overwhelm ourselves with keeping
track of specific hours. We try to schedule our
calendar on a day to day basis and what parts of projects are we working
on on those days. And we've also found that
there's always going to be unexpected things that pop up last minute
requests from clients, things we need to deal
with our vendors. So we try to leave moments of open space in our
calendar as well, because we know
they're just going to fill in with those
unexpected things. Yeah, and when it
comes to our calendar, it's one of the biggest tools
we use for time management, especially as a visual person, it's helpful to see
what's next and kind of lay out your day
to day week by week. Nathan and I every Monday, basically lay out our
priorities for the week and decide on which days those things are going
to be taken care of. Being your boss can be challenging
when it comes to this, especially when it comes to
not only working for clients, but in addition to that,
making stuff for yourself, self initiated
work, for example. One way we kind of reframe being your own boss is kind of treating yourself
as your own client. Kind of think about it as let's say you're
making something for yourself like an art prints. You want to basically
treat that as a project as if you are making it for a
client, but the client is you. And one way we manage that, both from the
client's perspective, like working with a client or working on a self
initiated project is take a huge project and think about it in terms
of smaller chunks. Don't want to just kind of
start off and say, Okay, this poster is due on
this day, and that's it. You're going to kind of
feel the tension of that. And even if you have four
weeks to work on it, it's going to feel
kind of daunting. But one way to kind
of break it up is to break it up into a small
amount of pieces as possible. For us, we kind of think
of it as you know, all the stages that lead
up to that due date, and how many tiny pieces
we can make out of that. So, if it requires sketches or some inspiration or research
in the very beginning, kind of break that up
into a couple of days and specify when
you're going to do it. And then there's like
the middle part of it. You know, Maybe you're going
to colorize those sketches, or you're going to
revise those sketches, or you're going to choose
your chosen concept, M that a part of it. Then beyond that, there's the actual building blocks
of creating your project. We kind of think of that as a whole other part
of the section, and kind of think about
it as a way that you can break it up into as
many pieces as possible, and you'll find
that that due date doesn't feels daunting anymore because you actually can see in your calendar how
it's going to get done. Now, Nathan and I have a very fortunate circumstance
where we work together. We're two different people.
We're very different people, and we actually collaborate
on everything we do. It's a fruitful partnership, and it's really worked
for us in our career. And we highly recommend collaborating if you
can as an artist. Even if you work
solo, it doesn't mean that you necessarily
have to fight a partner, but you know, share your work with others and get
their feedback. It actually helps
elevate your work. So when Nathan and
I work together, we try to be as honest as
we can with our feedback, helpful, constructive, and we're just really good sounding boards for each other. We take advantage of the fact that we're very
different people when it comes to our design thinking
and how we see the world. And that contrast between
each other actually helps bring our work to
another level that would be unexpected as
just a solo artist. And another part
of partnerships or collaboration is just kind of keeping yourselves
accountable. You can do this with
yourself as well. Just kind of remember that
you have your limitations, but you also have your skill
sets that you can lean into. And Nathan and I will actually kind of keep
each other accountable in terms of what needs to get
done and kind of watch each other's calendar and schedule and kind of
check in on each other. Like, how's it going?
Can I help in any way? And we find that things go way smoother when we keep that
communication line open. Now it's your turn.
Take stock of how you plan to manage
your time and who you might be able to rely on as a sounding board to keep
your business on track. And we also encourage you to download the project
task worksheet, which will help you
break down large, daunting projects into
more manageable steps.
12. Class Conclusion: We hope this class
inspired you and gave you the confidence to start
your own creative endeavor, and can also serve as a reference point if you want
to return to revisit just a specific tip that might come in handy as you get underway
with your creative practice. We're excited to see how
your business evolves. So please try one
or more of the tips and share your experience
in the project gallery. And if you have your own business tips that
you want to share, the more the merrier, we're excited to learn
from you as well. If there's one thing we hope you take away from this class. Even though the idea
of starting a business or becoming a freelancer
can be daunting, there are specific steps you can take to rip the band aid
off and get started. Starting our own business has
been the most challenging, but also rewarding
decisions we've ever made. It's allowed us to steer the
course of our own career and take true ownership
of how we spend our days. We hope you enjoyed this class, and we'd appreciate
you leaving a review. You can also learn other
techniques from us in our other skill
share classes like Rock poster design and
productivity for designers. Thank you for joining us, and we hope to see you in
another class soon.
13. Want to Learn More?: Hey, are you still looking for even more skill
share content from DKNG? Well, we also offer personalized
one on one sessions where we'll meet with you and talk about ways to
help your business. We're offering three
types of sessions. The first being a
portfolio review. The second is a
business consultation, and the third is a design or illustration
instructional session. So if you're interested,
you can learn more from us on our website in
the learn section or check out our
page on skill share where you can sign up
for one on one with us.