Does the illustrator work overtime seriously? How to turn your hobby into a job and become a professional illustrator?

Are you tired of being a professional illustrator? How about looking for a job? I want to learn this now. As long as I study illustration, design and 3D animation, there will be fewer people who don't work overtime. Learning illustration can be regarded as a skill. If you feel too hard, you can study while working. Then enter the illustration market through blogs and participate in some creative fairs and exhibitions. As a hobby, there is still much room for development. As a profession, it is less likely that you don't want to work overtime and stay up late. Because I don't want to work overtime, it is too harmful to my health, so I changed to planning! Although overtime is inevitable, I seldom stay up late. It's already amitabha! How to turn your hobby into a job and become a professional illustrator? 1, first understand the original painting and illustration major.

As far as Beijing is concerned, the income of original painters and illustrators is 0.6w-3w a month, and the average salary of film and television industry is lower than that of games. The overall salary of animation industry is lower than that of games and movies, which is characterized by low threshold. Generally, we will do relatively small projects, such as promotional videos, and movies like Luo Xiaohei are relatively advanced projects. Advertising companies will also have a painting profession, illustrations will have some functions in advertising, and they will cooperate with big-name advertisements. Some storyboards and shot designs are well paid but very tiring. In the publishing industry, some Internet companies or publishing companies, some picture books, will produce a lot of pictures, and the wages are relatively low, and the industry is unstable because the market scale is relatively small.

2. Work status and atmosphere: Basically, these industries work overtime, except for film and television, there are more women. Most of the working atmosphere is ok, but the animation company is a little worse. Because of nervousness, they often stay up late to work overtime. Game companies are more formal in this industry because of their large scale, good welfare and simple personnel relationship structure.

3. Content of the work: The difference between the illustration and the original painting is that the illustration is more beautiful and the background is for the audience.

Li Rui's original paintings are for producers, mainly for performance design.

A painting like this is a painting that gives consideration to the functions of illustration and original painting, that is, vertical painting.

4. How to enter the business? The first thing is to have professional skills. First of all, to enter CG career, you must have modeling ability, that is, painting ability, design ability, aesthetic ability and expansion ability. Expanding your ability is your core competitiveness, that is, how to draw better than others.

Three stages of learning: (1) and hobby period. Cultivate hobbies and understand the knowledge system.

(2) learning period. Sort out the knowledge system, train in a planned way and practice creation.

(3) Promotion period. Aesthetic ability and expanding knowledge system.

Modeling ability to practice lines, as well as modeling ability, parts perspective must be painted more and practiced more.

From left to right, head turns left and right, from top to bottom, head down, head up. All parts should be practiced.

Points for attention in figure modeling and costume design.

5. Portfolio and resume. If we can extrapolate, the success rate is higher. If not, submit your resume online. The portfolio must be based on design, and you can put three illustrations with high completion, such as the picture below.

Teacher Li Rui, the original painter, works 6. This industry is a high elimination industry and needs strong persistence. Learning in private schools takes a lot of time and energy, and it will have a long growth period, which requires you to pay more time to work hard outside of work.

Integrating hobbies and learning into life, people's energy is very limited. When you relax, you can choose something that can help you draw, such as watching exhibitions, photography, movies and so on.

About illustrators and graphic designers, please help. Basic skills of graphic design First of all, there is no computer obstacle, and it must be regarded as basic skills. Of course, this is not contradictory to not relying on computers. Not relying on it doesn't mean you can't understand it. After all, in our work, every process from design to printing needs the help of computers. Looking at this problem today is the same as why painters can't use pens. Secondly, the lack of printing knowledge hinders the development of many graphic designers. Because they don't understand, many designers think that their designs are what they look like on the computer screen, which is very dangerous. Because of technical reasons, there is still a big gap with the actual output effect. Not familiar with the characteristics and defects of printing, many designers constantly create troubles and obstacles for printing when designing, which is stupid. Graphic designers need to know a lot of printing knowledge, such as the performance of various brands of printing machines, the performance of the same model with different specifications, the performance of different brands of inks, the characteristics of four-color inks and spot-color inks, the performance of different brands, specifications and varieties of paper, special technology, post-processing and binding, etc. These are all issues that designers need to consider for customers when designing. So, can you be a graphic designer if you know computers and printing processes? Maybe not, after all, it has nothing to do with "design". As far as graphic design is concerned, there are many distinct laws: a. The plane is uneven. I have had many lucky things myself for more than twenty years. For example, at the beginning of eating this bowl of rice, I accidentally bought a bunch of "Art and Design" magazines at the second-hand bookstall, which will always be an exciting memory for me. Because at that time, I was confused by the dazzling design, and no teacher could follow suit. This pile of old magazines opened my eyes and showed me punctuality. Read art design magazines carefully, all the skills related to graphic design are included, and they are unassuming and gentle, which provides a lot of room for plagiarism. A large part of my understanding of graphic design comes from this pile of old magazines. "Uneven plane" is my understanding of the picture effect in graphic design. Many people call it layout, composition, structure and sense of form. I like to keep it simple. After reading a lot of good designs, I feel that designers are pursuing the "uneven" effect intentionally or unintentionally. That is, using various planar elements on planar materials (such as paper, etc.). ), we strive to stretch the visual space. Cezanne, the painter, began to try this theory a hundred years earlier than us, and it has reached the extreme. What makes me sigh is that the least commercialized and frightening artistic change a hundred years ago has become the most commercialized graphic art a hundred years later. How interesting. This concept of space includes natural sense of space and contradictory sense of space. With the designer's hobbies, layout requirements, visual impact needs, free choice. There are not many people making a fuss now, but the skills (or elements) used by designers are regular, whether it is to express the feelings of natural space or contradiction space. There are many put together. For example: making holes; An exaggerated shadow effect; Use very realistic and textured images; Contrastive use of physical elements and painting elements; Use the contrast effect between colors; Use the overlapping effect of lines and color bars; Use the superposition effect of words and graphics, words and words; Comparison of proportional relations between characters and so on. Due to the limitation of space, I don't want to explain in detail. In the future, we can compare the example works with the theoretical texts at a glance. B, the music color in color is the soul in graphic works. If you want to use it well, you must know about paper and ink. Different combinations of paper and ink will produce absolutely different effects. But the difference between us and painters is that graphic designers only have four tubes of pigments in their hands, but they can rely on the density characteristics of dots to reconcile all the colors we can perceive. This is really a magical invention. As the original country of printing technology, we thank the Germans. Using the cooperation between dot and paper (white), the ink can be more uniform, bright and clean. But this is only a technical problem, and designers should rely more on spirituality in the use of color in design work. I often hope that my designer friends around me can learn some music. This is not a mystery. It is really simple and straightforward to analyze color with the theory of music. This is my discovery. 1. First of all, people who know music know that there is no fixed sound on an instrument, and the position of the note "Dao" changes with the mode. Different modes convey different feelings and are suitable for different instruments and sounds. This is the same reason why we use color. Communicate the tone and artistic conception of the whole picture through the warmth and coldness of the picture color. But since childhood, the relationship between cool colors and warm colors has been fixed in our hearts. Red is warmer and blue is colder. Actually, this is a wrong concept. Colors, like notes, change tonality (cold and warm relationship) with the change of surrounding environment. Knowing this truth, blue can also be used by us? & Make it warm. 2. Because of the screen, graphic designers are not used to giving literary names to colors, such as magenta, ultramarine and lake blue, and they are replaced by four simpler and more direct numbers. That's good. It meets the requirements of commercial times or the digital age. This is a mechanical requirement. Understanding color tonality is a spiritual training for graphic designers. 3. Secondly, the application of the concepts of chord and melody in graphic design. Friends who play musical instruments know another truth. It doesn't matter which sound is good or not. The notes must be put together to be called music, otherwise it must be noise if you keep pressing them. When you put it together, it will become a chord "C". It's like red, blue and white in color, always in harmony. Chords can continue to add new sounds, such as adding a "lai", which will immediately change the tone and become a seventh chord. If "Mi" is replaced by "Mi", it will go to the blues in a completely different way, just like in the combination of red, blue and white, purple or orange gives people a completely different visual experience. Chords can always be added with notes to become 9 chords, and 13 chords are like colors we often say. After understanding this truth, we will understand more directly that colors should be used in groups. The basis of these combinations should be the same as chords C, D, E and F, with an original collocation. Designers must change in these combinations if they want to change constantly. You must put irrelevant colors together, just like "hair" and "hope" are not next to each other. It doesn't matter, your picture must be very dull; It would be ugly if we must put hostile colors together. Using the principle of chord to understand color, you will immediately jump out of the misunderstanding of color poverty and find that there are too many colors to choose from. The reasonable collocation of color tones continuously stretches the visual space of the picture, making the picture gorgeous and thick, which is the function of color chords. But can chords alone be music? No, music needs melody. Music without melody is not good. So, what is the melody of a graphic work? It is the process of looking at a work with your eyes. Whether it is a poster or a brochure, there is a question of what to read first, what to read later, what people need to read most, what to remember and what to remember. These constitute the melody of graphic works, which makes the audience's eyes nervous, when to rest and where to stay at last. This is the most important problem that designers need to think about. C. Rhythm According to my suggestion, my design assistants have summarized and recorded various tones for a long time. From the works of famous artists, from the patterns of various ethnic groups, from the natural scenery, and then we use these colors in practical work. A set of colors used in small folded pages made for fast food exists in vegetables and fruits. Because you need a color that makes people hungry. But the problem soon came. TINT, summarized by many famous designers in their designs, has changed after we used it, and there is no genius. Why? This really bothered us for some time. At first we thought there was something wrong with the color record, and the correct color was not accurate enough. Later, many experiments failed, but fortunately, after a long period of confusion, we finally found the reason. It turns out that the use of color is the same as the rhythm in music, which requires proportion. Many beautiful tones also need reasonable color proportion control. Under certain conditions, the use area of a certain color must be large and a certain color must be small. Some are just for ventilation, and some are for decompression. I don't have the confidence to keep looking for rules, which is really changeable. But what is certain is that graphic works must need a kind of rhythm control, and there are many elements to control the rhythm, among which colors, pictures and text arrangement are commonly used.