Q:Hello Sarah! I am one of probably many who has recently listened to your podcast with Chris Oatley, and I have to say it was wonderful! During your conversation you mention CTNX and how important and inspiring that event was, which was very reassuring because I plan to attend this year! But I was wondering, how exactly does one go about getting his/her portfolio looked at by you or any of the other amazing artists attending? Do we just... walk up and introduce ourselves? Thanks!
Tens of hundreds of artists in the industry are exhibiting at the event, and many of them are willing to look at your portfolio and give you feedback. It’s polite to introduce yourself, perhaps compliment their work before you ask them if they have a time to look at your portfolio for feedback. Some don’t have the time, but a lot of them do and are willing to take a look. It doesn’t hurt to ask, and I’ve never encountered anyone who wasn’t nice in return whenever I asked for feedback.
Also, many studios and colleges/online schools have booths that do portfolio reviews. There’s usually a line (and in the case of Disney, signups), but it’s worth doing to get as much feedback as you can. Even if your portfolio isn’t necessarily ready for some of the studios, all of the people at the different booths are very kind with giving constructive feedback.
Q:Hey Sarah, My wife is interested in doing art for children's books and we were looking around for a forum she could join to get constructive criticism and challenges to join but weren't having a lot of luck. Do you know of any you would recommend?
SCWBI forums and ChrisOatley.com
Q:Hi Sarah! I just finished listening to you on the Art Cast and it was really great hearing your story. I signed up for the mailing list about the mentorship with the Magic Box (color is one of my biggest stumbling areas). One thing that surprised me was that you mentioned in your test for Nick, you painted the character design as a bonus. I always figured color was mandatory, a big part of why I haven't submitted my portfolio anywhere (as above, I need improvement). Is this not the case?
The character design test was just that - a design test. The designers at Nick (and in many places) only use linework on a daily basis and very rarely paint their one designs - that’s where a color stylist comes in. My strength definitely is with color, so me painting the character was an opportunity to show my abilities in an area I was really passionate about and that risk paid off.
Not all studios split the job duties between designers and painters/color stylists, but I think this goes back to, again, the importance of knowing the job (and company) that you’re applying for and the duties that they’ll expect you to fulfill on a daily basis.
I’m working on a series of paintings of all of the Sailor Senshi, and I just had to start with Super Sailor Moon. Here’s the sketch before the painting. Any requests for which senshi I should start next?
Interview With Sarah Marino: Visual Development Artist For Nickelodeon & Reel FX (Part 1) :: ArtCast #76
I met Chris Oatley at CTN three years ago and it changed my life. I can’t believe how different things are for me after 3 years, but I know I wouldn’t be here without his guidance, support, and friendship. It was an honor that he asked to interview me for his podcast, and I am so humbled and thrilled to say I’ll begin mentoring Magic Box students later this year. Hearing myself talk is kinda weird (especially with the echoing happening in my apartment), but Chris is the best at what he does and I’m so thankful to be a small part of his dream. He helped me achieve mine.