Blog Archives - RF Illustrations https://tibilis.com/illustrations/blog/ Illustrations - Cartoon Mascot Characters Vector Illustrations - Illustrations for Advertising Editorial and Children Books Tue, 01 Dec 2020 16:07:40 +0000 en-US hourly 1 https://wordpress.org/?v=6.8.3 https://tibilis.com/wp-content/uploads/2020/02/cropped-tibilis-cartoon-illustrations-favicon-32x32.png Blog Archives - RF Illustrations https://tibilis.com/illustrations/blog/ 32 32 Development Process of Cartoon Characters and Mascot Illustrations (for Illustrators) https://tibilis.com/blog/development-process-of-cartoon-and-mascot-illustrations-for-illustrators/ https://tibilis.com/blog/development-process-of-cartoon-and-mascot-illustrations-for-illustrators/#respond Wed, 25 Nov 2020 15:08:59 +0000 http://tibilis.com?p=1122 The post Development Process of Cartoon Characters and Mascot Illustrations (for Illustrators) appeared first on RF Illustrations.

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Creating cartoon mascot characters is a really exciting and challenging process for the illustrator.

The process of creating an illustration of a cartoon mascot character it can be splitted basically in four main parts. The conversation with the purchaser of the mascot regarding the mascot creation, the agreement, fees and contract, the rough drawings and the final creation of the illustration or illustrations.

1. Understanding the needs of the Cartoon Mascot’s purchaser

It is the first and most imprtant step. An in depth conversation with the purchaser in order to understand the purposes, products or values that the mascot needs to support, its possible applications, the target group especially regarding country, age, habbits and gender, the purchaser’s suggestions and vision and all other aspects that will possibly influence the development of the cartoon mascot illustrations.

2. Agreement – Costs and Contract

Based on all the information you get, be sure to agree on the cost and the contract. It is really crucial to be as clear as possible in order to avoid any misocnseptions. Be clear specifically about usages and any possible additional fees.

Regarding usages, specify the rights you give to the purchaser as well the rights that you retain. Describe clearly;
a. the exact usages, like picture-book, printed ads on a specific magazine, billboards, site’s template for resale, packaging etc.
b. each usages’ duration.
c. any geographical restrictions, like in a signle country, without geographical restrictions etc.
d. which will have the right to use it.
e. the cost for future possible usages if asked so.
f. the usages you retain.

Regarding costs, specify;
a. the cost and of the rough drawings (specify the number of rough drawings as well of accepted changes)
b. the cost for additional rough drawings.
c. the cost for additional alternations.
d. when you will get paid.
e. the front payment.
f. the rejection fee.
g. possible rush fee.

Be sure to read carefully the contract, if any, ask for any clarifications or changes needed and do not forget to agree too, to the time of delivery. Regarding time, split it to the rough drawings time, corrections time, purchasers delay to reply and the final cartoon mascot character illustrations’ time.

Finally, but really important is to make clear that the rights will be available to purchaser only after full payment.

3. Rough Drawings of the Cartoon Characters

Be sure to be confident that you have understand the purchaser’s needs, clarifying any details needed, before proceeding to the rough drawings in order to avoid unencessary changes, time spent, additional fees and possible misocnseptions. Agree with the purchaser if they will be colored or black and white, on a specific number of characters created (if they are more than one), of rough drawings (of each, if more than one) as well of accepted changes. Beyond all these, here is the time of the creation. Spend all time that you have creating more characters, drawing more doodles, sketches, illustrations, thinking about the mascot character itself, do your research (like clothing on specific time on history etc). Hide away each day your past days illustrations and start evry day from scratch. Choose your best mascot characters until now and create some more rough illustrations maybe on other poses or alightly adjusted.  Finally choose your best character illustrations and trace them in order to make the final adjustments if it is necessary. Add some color if it was agreed so.

Do not forget to deliver on time:)

4. Creating the final Cartoon Mascot Illustrations

It is the final step. Spend the necessary time you need in order to do your best and deliver the highest posibly quality illustrations. You could deliver them on many formats but nowadays the best format is vector (like AI or EPS) as it can be scaled without loosing quality, it has fairy small size,  and most graphic designers can incorporate vector illustrations more easily to their project.

Now you can deliver your cartoon mascot characters illustrations 🙂

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]]> https://tibilis.com/blog/development-process-of-cartoon-and-mascot-illustrations-for-illustrators/feed/ 0 How to keep inspired creating Cartoon Mascots and Characters Illustrations https://tibilis.com/blog/how-to-keep-inspired-creating-cartoon-mascots-and-characters-illustrations/ https://tibilis.com/blog/how-to-keep-inspired-creating-cartoon-mascots-and-characters-illustrations/#respond Wed, 25 Nov 2020 15:05:36 +0000 http://tibilis.com?p=1120 The post How to keep inspired creating Cartoon Mascots and Characters Illustrations appeared first on RF Illustrations.

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Creating cartoon mascot characters is really exciting, though some times, mascot after mascot you might feel a bit drained out. Here are some tips to keep inspired:

1. Stay away of creating

Sometimes happens to feel completely without inspiration. It is like a nightmare because you have a tight deadline. Your client waits for his cartoon mascot character. This is the time that you need to be inspired. This is the time to shut down your computer and stay away from your pencils, papers and colors. It is time to take a walk. I can for sure say, from my experience, that talking a walk and especially to nature it can be really inspiring. I like to take a walk to the nearest park. It is not only relaxing me but it also calming my thoughts too. Suddenly, after a while of walking whithout thoughts, aevery issue of my life looks so easy to be resolved. Not only illusration issues but general worries too.

I have find myself many times get inspired like this. I feel refreshed and recharged and ready to create my new cartoon mascot character or any other illustrations’ assignments.

2. Read a book

Reading is not only an opportunity to learn but to relax too. This time of relaxation is time of inspiration too. Read books that are not related to illustrations. You can read for eaxample books that challenging your imagination as well as books suggested by a friend of yours. Reding books about creating mascot characters and illustrations might be helpful too, though stay away of the temptation to copy elements of other characters, respectfully to other illustrators rights.

3. Spent some time on web

Visit your favorite social media, watch a video, learn something new, read your favorite blog. Whatever you do, make a schedule, let yourself relax doing so. Spend your scheduled time enjoying yourself. This is one of the keys of leading others to enjoy your mascots characters.

I would suggest to avoid to visit illustrators sites. This might confuse you. After all it is time to relax.

4. Chat with friends

Meet some friends, call them on phone or chat with them online. Whatever you do, spend your time in a positive way. After this meeting you will feel refreshed and more alive. This aliveness can go directly to your paper, your screen and your masot character.

5. Do your reasearch

By research I do not mean searching other illustrators mascots. I would suggest to avoid doing so. Go directly to the source. For example if you have to create a dog mascot, just spend some time watching a dog. Study what it is doing. How it moves. What is doing when it is happy. If you have to create a lion mascot, ok thing get more difficult… find some books with lion photos or search on the internet. Going directly to the source, looking at the real thing, I find it so inspiring. It allows me to keep it original and at the same time to add my personal perspective to my final mascot.

 

Doing these or following other tips of getting inspired I hope you could take out of you your best illustrator, creating unique mascots and cartoon characters. Enjoy  🙂

 

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]]> https://tibilis.com/blog/how-to-keep-inspired-creating-cartoon-mascots-and-characters-illustrations/feed/ 0 How much illustrations cost? https://tibilis.com/blog/how-much-illustrations-cost/ https://tibilis.com/blog/how-much-illustrations-cost/#respond Wed, 25 Nov 2020 15:00:28 +0000 http://tibilis.com?p=1117 The post How much illustrations cost? appeared first on RF Illustrations.

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The cost depends on many factors. Mainly on the complexity (including number of illustrations, style and size) and the intended usages of the illustrations. For example, the same illustrator will normally charge much higher for one illustration that will be used for advertising purposes worldwide without time limitation, than if the same illustration will be used in a single country by a low circulation magazine for one month.

So, in order to get an exact quote, you should send to the illustrator a detailed brief including:

1. How many illustrations will be in the same project and assigned at the same time.

2. Which will be the size and style of the illustrations.

3. The exact usages of the illustrations like picture-book, printed ads on a specific magazine, billboards, site’s template for resale, packaging etc.

4. Each usage duration.

5. Any geographical restrictions, like for usage in a signle country, specific number of countries, without geographical restrictions etc.

6. Which will have the right to use it. Describe if it is for personal use, by usage by one company only, a group of companies, for resale etc.

7. The cost of the rough drawings if agreed a separate cost for them.

8. When the illustrator will be paid in full.

9. Percentage of front-payment, if agreed so.

10. Rejection fee.

11. Possible rush fee, if for example you need the project to be completed by tomorrow.

If an illustrator knows all these information should be able to give you an exact quote. Please also notice that one illustrator is expected to price your project more or less than other illustrators will do, depending on his experience, skills, status and pricing policy.

 

If you are an illustrator, here are some additional information: Development Process of Cartoon Characters and Mascot Illustrations for Illustrators.

 

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]]> https://tibilis.com/blog/how-much-illustrations-cost/feed/ 0 What is the average hourly rate for illustrators? https://tibilis.com/blog/what-is-the-average-hourly-rate-for-illustrators/ https://tibilis.com/blog/what-is-the-average-hourly-rate-for-illustrators/#respond Wed, 25 Nov 2020 14:58:29 +0000 http://tibilis.com?p=1115 The post What is the average hourly rate for illustrators? appeared first on RF Illustrations.

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I would say that, from my experience, an “average hourly rate” does not exist. There are so many factors that should be taken in consideration regarding the cost of an illustration, that it is hard to have anything close to “average cost”. Different illustrators pricing their work in a much different way, not only considering how experienced, fast and well known they are, but also using a different way of thinking.

The process of creating an illustration of a cartoon mascot character it can be splitted basically in four main parts. The conversation with the purchaser of the mascot regarding the mascot creation, the agreement, fees and contract, the rough drawings and the final creation of the illustration or illustrations.

The cost depends on many factors. Mainly on the complexity and the intended usages of the illustrations. That said, the same illustrator will normally charge much higher for one illustration if it will be used for advertising purposes worldwide without time limitation, than if the same illustration will be used in a single country by a low circulation magazine for one month. This example illustrates why an average hourly rate does not applies even to the same illustrator (in different projects).

We could might conclude that one illustrator could have different hourly rates for each project. This is more close to reality but again not accurate enough. A problem that occurs using hourly rate is that an illustrator should normally ask a higher fee per hour depending on how fast he (or she) works. But if one is extremely fast the hourly rate will increase a lot and this cost might look insane to the potential client as other illustrators ,who will (let’s assume) could deliver the exactly same quality illustrations, will have a much lower hourly fee. So we come down to the question “how accurate, if not honest too, an illustrator could be, so he (or she) could predict how many hours would probably need for each project”.  We see clearly that the hourly rate should go together with the question of how many hours would need for the project to be completed. Otherwise, an hourly rate agreement would be a disadvantage either for the illustrator, either for the purchaser, depending on the case.

A low hourly rate might have the risk, for the purchaser, of a not so experienced illustrator that lacking experience and so, might can not be accurate for the hours needed as well as to not be able to deliver the desired level of quality, and as a result will might have to pay for more hours. At the other hand, a high hourly rate might have a risk, for the purchaser, in case he will ask for several corrections. In both cases, an hourly rate agreement could end with the illustrator’s disappointment as if the project ends really fast and successfully, the illustrator will end up with only a few dollars in the pocket, especially if the per hour cost was low.

Taking in consideration all these, I would suggest a per assignment, or per project cost. This is safe for the purchaser as well as for the illustrator too. Both knows the terms from the start, so there are less chances for surprises.

You can see a relative article about the usages, agreement and cost here.

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]]> https://tibilis.com/blog/what-is-the-average-hourly-rate-for-illustrators/feed/ 0 Interview to Ind Share – Cartoon Mascot Characters Illustrations https://tibilis.com/blog/interview-to-ind-share-cartoon-mascot-characters-illustrations/ https://tibilis.com/blog/interview-to-ind-share-cartoon-mascot-characters-illustrations/#respond Wed, 25 Nov 2020 14:55:55 +0000 http://tibilis.com?p=1113 Tell us few words about yourself to our readers  I am a self-taught freelancer illustrator. I always enjoyed drawing and most of all creating cartoon characters. I am really excited that this turned to be my day work for more than 20 years. I work mostly for advertising agencies from all over the world including […]

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Tell us few words about yourself to our readers 

I am a self-taught freelancer illustrator. I always enjoyed drawing and most of all creating cartoon characters. I am really excited that this turned to be my day work for more than 20 years.

I work mostly for advertising agencies from all over the world including DDB, McCann, JWT, BBDO, Ogilvy, Leo Burnett and many more. I have created illustrations that have been used for almost any possible application like children packages, posters, greeting cards, TV commercials, T-shirts, picture-books, brochures,  stickers, web templates, mobile apps, board games etc. My Illustrations have been used by companies such as Coca Cola, Procter and Gamble, Sanofi – Aventis, Dannon, Novartis, Carrefour and many more.

I work on several illustration styles and I like developing new styles from time to time or if a suitable project arise. Though, what I enjoy most is creating cartoon mascot characters. It is a really fun process and I always have a great time working on mascot development.

Beyond illustrations, I always enjoy learning. I recently learn some of creating web pages, apps and coding using HTML, CSS, jQuery, as well as some PHP, Python and Swift.

As I have a really tight schedule, I am trying to create within my day some spare time for my family, my self and my friends. I value this time really high 🙂

 

What are the tools you use for your work (mention Free / Paid tools)? What tools do you suggest for newbies?

What I consider as my first and more powerful tool is my pencil and a pack of white papers.

Regarding my main work, as they are computer generated illustrations, I use  iMac, Macbook Pro, Wacom Intuos, Canon camera  and some software like Adobe Photoshop, Adobe Illustrator, Adobe Flash and Cinema 4D.

I also work creating handcrafted illustrations. I create small cartoon characters and scenes using clay, wood, fabrics, acrylics, wire and any other available material and then taking photographs of it using them as an alternative way of illustration.

I use to create illustrations on canvas with oils or acrylics as well as using watercolours and coloured pencils on paper. Though, at time, I am not enjoying this kind of process so I have step back a bit from these styles.

For people who want to start working as illustrators, I would suggest to just follow their dreams. Each one should find or create his own way to creation and happiness and follow it. Regarding more technical things of illustrations, I would suggest them to keep learning even as professionals. Learn at least some basics of illustrating on paper, using pencils and any other possible material. In my understanding, this way would lead them to have a deeper knowledge and understanding of real and digital tools too. Then they could then combine them and the possibilities are endless. Internet is a great help as you can learn form other illustrators their techniques and their way of using their tools.

 

How do you motivate yourself to improve their work?

I keep myself away from my Mac. I enjoy taking long walks to forests, reading books and spending time with people I love.

 

Do you feel social media is an important tool for illustrators?

From my experience, no. I am not investing time on social media and I am doing fine until now. But I might not be the right person to reply on this. Many people think that this is the way to promote their illustrations and maybe they are right. Everyone has to choose his way of promotion. I have choose to create the best cartoon illustrations I can, at each given time, and I consider this the best way of promotion.

 

What does ‘illustration’ mean to you in one sentence?

I like to consider it as a word jumping out of the word “illusion”. Is an illusion. You see something alive, smiley, three dimensional and you only looking at a piece of paper or a screen.

 

 

Do you work as a fulltime/ part time/ freelance /hobby illustrator? Do you provide any online/offline services?

I work as a full time illustrator. My only online service is my personal Royalty Free Gallery at tibilis.com/stock were visitors can purchase in fair costs my cartoon illustrations and many mascot characters through an easy online process and download the illustrations instantly.

 

Describe your daily routine? What are your hobbies?

My hobbies includes drawing and sketching but also walking on the forests, reading books, playing guitar, exercising, cooking, programming and learning new things.

My daily routine is different every day but in general, I get up early, go for a walk, drink a coffee and start illustrating cartoon characters. In between of all of these I am playing with my kids and I meet friends and family.

 

What are the challenges you faced? or What is the challenging part of your career?

When I decided to start working as an illustrator there was no illustrations schools in Greece so I am a self taught illustrator. This might sound difficult but it was challenging and I had a great time through this. Of course I did not have anyone to ask for help but I feel I learn in depth. There was no internet at time and only a few books about illustrating available in Englinsh. My English was not so good at time and I had to learn the language too. It is not the easiest way but I earn so many things this way.

Currently, I am based in Greece but thankfully I work worldwide. I strongly believe that in every challenge, in every difficulty there is a positive point to look at. In my life until now I found that looking to the bright side is not just an optimism, it can be a reality too. It is just easiest to realise it at the future looking back than at the present moment. Be conscious helps enjoying every aspect of life.

Enjoy challenges 🙂

 

Can you please give some advice/ useful resources to upcoming illustrators?

Love what you do! Dare to do what you love! Do not listen to those who do not support your dreams.

Resources; trust yourself; you know better.

 

Anything else to say before signing off?

Thank you for the interview. I enjoy it.

 

How people can reach you? Share your links and contact points

They can visit my website at www.tibilis.com. I have also my personal Royalty Free Gallery at www.tibilis.com/stock. You can contact me directly at contact@tibilis.com

I would be happy to hear from you:)

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]]> https://tibilis.com/blog/interview-to-ind-share-cartoon-mascot-characters-illustrations/feed/ 0 The cost of advertising illustrations https://tibilis.com/blog/the-cost-of-advertising-illustrations/ https://tibilis.com/blog/the-cost-of-advertising-illustrations/#respond Wed, 25 Nov 2020 14:46:08 +0000 http://tibilis.com?p=1108 The cost depends on many factors. Mainly on the intended usages, but also on complexity (including number of illustrations, style and size). For example, the same illustrator will normally charge much higher for one illustration that will be used worldwide without any limitation, than if the same illustration will be used for specific advertising usages […]

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The cost depends on many factors. Mainly on the intended usages, but also on complexity (including number of illustrations, style and size). For example, the same illustrator will normally charge much higher for one illustration that will be used worldwide without any limitation, than if the same illustration will be used for specific advertising usages like in a single country, for six months, only on billboards.

So, in order to get an exact quote, you should ask your potential client for a detailed brief including:

1. The exact usages of the illustrations:

– if they need a buyout (all rights) or specific usages like packaging, printed ads on specific magazines, billboards, TV commercials etc.

– If they need exclusive rights and for how long.

– Any Geographical restrictions, like for usage in a signle country, specific number of countries, without geographical restrictions etc

 

2. Each usage’s duration.

3. How many illustrations will be in the same project and assigned at the same time.

4. The size and style (in case you work in more than one styles) of the illustrations.

5. Which will have the right to use it, like usage by one company only, a group of companies, rights for resale etc.

6. The cost of the rough drawings if agreed a separate cost for them.

7. Information about your front payment, full payment.

8. Rejection fee. In case they stop the project after you have started working on it or finished it too.

9. Their deadline. When they want you to deliver the rough drawings, the final project and also set a rush fee, if for example you need the project to be completed in extremely tight deadlines.

As soon as they will provide you all these information, you will have a better understanding of their needs and you will be able to give them an exact quote depending on your experience, skills, status and pricing policy.

 

If you are an illustrator, here are some additional information: Development Process of Cartoon Characters and Mascot Illustrations for Illustrators.

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]]> https://tibilis.com/blog/the-cost-of-advertising-illustrations/feed/ 0 Interview to Dave Hile Design (March, 2009) https://tibilis.com/blog/thodoris-tibilis-illustrations-interview-to-dave-hile-design-march-2009/ https://tibilis.com/blog/thodoris-tibilis-illustrations-interview-to-dave-hile-design-march-2009/#respond Wed, 25 Nov 2020 14:25:50 +0000 http://tibilis.com?p=1100 Hile Design:  Today it is my pleasure to showcase my good friend and talented award-winning illustrator, Thodoris Tibilis. Thodoris, based in Athens, Greece has worked for leading advertising agencies throughout Europe and the USA, including McCann Erickson, Saatchi & Saatchi, BBDO, and Ogilvy & Mather. His clients include Coca Cola, Fiat, Procter & Gamble, Heinz […]

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Hile Design:  Today it is my pleasure to showcase my good friend and talented award-winning illustrator, Thodoris Tibilis. Thodoris, based in Athens, Greece has worked for leading advertising agencies throughout Europe and the USA, including McCann Erickson, Saatchi & Saatchi, BBDO, and Ogilvy & Mather. His clients include Coca Cola, Fiat, Procter & Gamble, Heinz and the 2004 Olympic games as well as many others. He specializes in commercial assignments that call for funny, energetic, and humorous characters aimed primarily at the childrens and young adult markets. If you are like me, you may not have a clue about what the advertising world (or daily life) is like beyond the shores of the USA, so let’s find out.

Hile Design: Hi Thodoris. Let’s start with the fact that you live and work in Greece, a small country compared to the United States. Can you tell us about what it is like to make a living as a commercial illustrator in Greece, and a bit about the overall advertising industry in your country?
Thodoris Tibilis: Hi Dave! As you know, it is amazing to be an illustrator, if you really love what you do! It is a childish dream that is becoming reality wherever you live! Though Greece is a small country, many international ad agencies have departments based here. From my experience working with ad agencies from other countries, things are about the same. The main difference is an issue of exposure. When you work for an ad agency based in Greece your main target, most of the times, is only the local market. Of course there are exceptions. I have done illustrations for Greek based ad agencies which have been also used on many foreign markets too. It is no need to explain that when you work with a US ad agency the exposure is grater, the main target market is much bigger and the benefits don’t stop there, because you have the opportunity to resell rights to a bigger market many more times and through different kind of markets than in a small country. It is important to mention that my answer concerns only the commercial illustration, because things are not optimistic if we talk about Greek book publishing houses, which pay very small amounts of money and demand to have all the rights for ever! it is outrageous but , sadly, it is common! That is why the majority of the talented Greek illustrators are working as freelancers worldwide or for Greek based ad agencies and not for book publishers. There are in our local market many illustrators but only a few in the commercial field, because the market is small and there is a lot of competition. It takes time and effort to became one of them, but when you succeed you are rewarded. The overall advertising industry in Greece it has a very high quality, things are getting better year by the year, some projects are used internationally and many ad agencies have been awarded in international competitions.

HD: Besides Greece, you work for clients in other European countries as well as the USA. What are some differences that you experience when working with clients outside your country?
TT: The main difference working for an ad agency in a foreign country are many miles separating us, but thanks to the internet this issue has been easily resolved. Unfortunately sometimes you might not have the opportunity for interpersonal communication. Another thing is that the contracts have differences from country to country mainly due to different laws. One more issue is that different countries belongs to different time zones and (if not every day) especially when a project is in progress you have to be available many hours of the day. Also the currency is different, but this is a minus problem. The last difference that I have experienced, is that in ad agencies from different countries you have to promote yourself in a different way for each one.

HD: Growing up did you always know you wanted to be an illustrator? And what was your education?
TT: No, I didn’t knew what exactly I wanted to became professionally. From my early childhood I always enjoyed drawing and making sculpture and handcraft. Even though I successfully graduated from Economic University… the only thing that I learned is that I finally knew what I should avoid! I am self-taught illustrator. It took me many years after school to realize that I wanted to be an illustrator, mainly because I didn’t even know whether there was such a profession.

HD: You have such a great style. Your figures have a lot of vitality and energy, and they definitely appeal to the kid’s market. Is this the subject and style you have always worked in, or did it evolve over time?
TT: As self-taught artist I have tried many mediums that I was finding in art stores without even knowing how to use most of them. Different mediums led me to different forms of art. Through this procedure my main stylized cartoon style evolved through time.

HD: I know that you have recently been experimenting with creating characters in clay, which you then photograph. What led to trying the new medium?
TT: I like to experiment! It is fun and I believe that it is extremely helpful to spend some time trying to express yourself in another way. At least it will charge your batteries and give you some new ideas even for expanding your main style if not creating a new one.

HD: Being an illustrator myself, I know that life can be filled with industry ups and downs. Depending on the project, one day I can feel on top of the world and the next I can feel like no one in the world likes my work. Can you share with us what was the most enjoyable and rewarding project you have ever worked on, and conversely, what was the worst, most horrifying job?
TT: It is nice to know that I am not alone in this world. I have the same ups and downs (fortunately more ups than downs) but I know now, after 15 years as a professional, that this is the reality of being an illustrator. I feel lucky enough that I have done many enjoyable and rewarding projects. I wouldn’t want to choose one of them, but I can definitely say which was the worst and really horrifying (as you correctly said). It was a book that I did 13 years ago. The deadline changed to the half time of that we had agreed and though the client was happy, I was not satisfied. After a couple of months, when I saw the published book I felt so disappointed that I promised to myself never to do something like this again. It was a great lesson and since then I am trying in every project to get out my best.

HD: You and I email a lot about how we market our illustration services. Tell our readers about how you reach new markets and obtain new clients. And I never asked you whether you have ever used a talent rep – have you?
TT: Advertising and showing portfolio are my promotion tools. I am trying to have a strong presence in the internet as well as in publications with illustrators ads. I have never used a rep, but I am thinking of finding someone to represent me only in US.

HD: I have always been impressed by the amount of work you turn out. It’s a testament to your talent. But a downside of being so busy for extended periods of time is “Illustrator Burnout”.  Earlier in my career (when I was much younger) I pulled a lot of all-nighters. It’s just something I had to do to build my business. I know that you have experienced similar stresses due to your workload. How do you deal with burnout, and has there ever been a time that you just wanted to get out of the commercial art business?
TT: I have been through a Burnout three times (fortunately, for small periods of time) and the symptom was a miserable feeling, without willing of illustrating. I just wanted to go on vacations and spend my day doing nothing. The way I am handling it is just to listen to myself and do nothing and get over this. It doesn’t happen when I have projects in progress, only on vacations period, because then is the time that I allow myself to relax from the hard work. I think that it happens because of our love to illustrate. We love it so much that we accept all these nice projects coming, without keeping in mind that we also have a need to rest. It is a love issue…

HD: What is there to do as an illustrator that you haven’t done yet?
TT: One goal is to do the character design for a cartoon movie 2D or 3D. Another goal is to learn better the 3D software that I am learning and create 3D illustrations as well as 3D animations. I am sure that when I succeed these goals I will create some more and this is the way it goes.

HD: Thanks for sharing with us, Thodoris.
TT: Thank you too Dave!

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