[Sticky] Illustrators of the Future Coordinating Judge Echo Chernik AMA Saturday, August 9, 2025

First off, thank you very much Echo!  As the coordinating judge and someone with many years of experience as a successful artist, please provide what you consider the most important aspect(s) of a successful career?

 

Hi, with the cost of art supplies and the continuous improvements with digital tools-a lot of students are focusing on digital art and mastering working in specific programs. Do you recommend still learning how to use traditional media, and if so-why is it so important? How will it be helpful for a professional illustration career?

Posted by: @johngoodwin

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First off, thank you very much Echo!  As the coordinating judge and someone with many years of experience as a successful artist, please provide what you consider the most important aspect(s) of a successful career?

 

I'm so excited to be here and answer questions. - 

The most important aspect of a successful career as a professional illustrator is to love creating art, and have a passion for illustration.  Throughout my thirty year career, there have been many different obstacles to overcome, but the need to create has made this possible.  So, perseverance is the most important aspect.  

Professionalism is also key - without professional behavior such as making deadlines and communicating with your client, you won't succeed as an illustrator.  A more professional, reliable artist will be more successful than an unreliable artist - even if the latter is superior at their craft.    

Creativity in a business sense - I've had to recreate my business model several times over the course of my career to adjust to economic times and to the ebbs and flows of trends in illustration.   It's the flexibility and creativity that has made me a success all these years.

 

Posted by: @tremani

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Hi, with the cost of art supplies and the continuous improvements with digital tools-a lot of students are focusing on digital art and mastering working in specific programs. Do you recommend still learning how to use traditional media, and if so-why is it so important? How will it be helpful for a professional illustration career?

Hello Tremani!!! I absolutely recommend learning to draw traditionally first.  Digital is just a TOOL.  If you can learn to draw and paint traditionally, you can draw and paint in *any* medium once you learn to master the tool (including digital and learning new programs).  Painting in Photoshop and Illustrator simply requires learning the tools and the interface - however, the basic rules of drawing and design that you learned while training will still apply.    There is a *big* difference between drawing from reference and drawing from life as well - so it's important to draw from life - it uses a completely different part of the brain, and if you continually keep that skill honed, you will see it reflected in whatever medium you choose to utilize.

I've also noticed that people who learn digitally have trouble navigating to traditional, while it's not really an issue the other way around.

 

@tremani That's a great question. I've definitely heard artists of all ages and experience levels express worry that there isn't a demand for traditional art anyone or any point in new artists learning it.

Can you talk about how to get into licensing? It's something that multiple judges recommended to me, and I was planning to look more into it once my kid is in school and I have the time to devote to it.

 

I have plenty of experience cold-call emailing ADs and publishers while breaking into book cover illustration, but I'm not really sure where one would start for something like licensing. How do you pitch yourself? Should an artist have a cohesive body of work (a la Amy Brown fairies as an example) to present before pursuing? (As opposed to a more general illustration portfolio.) How important is having agent for something like this?

 

Thanks Echo!

Posted by: @clfors

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@tremani That's a great question. I've definitely heard artists of all ages and experience levels express worry that there isn't a demand for traditional art anyone or any point in new artists learning it.

On the contrary - I have been seeing a shift over to demand for traditional art with the recent infection of AI art.  Just as the arts and crafts movement was a result of the industrial revolution, there is likely to be a backlash to AI which calls for traditional art.  A few years ago all the entries to the IOTF were digital artists, and lately it's been more and more traditional artists - which is fantastic.  I work both digitally and traditionally - it's a medium, a tool - and should be thought of as such.  You should never let it constrain you.  In fact, I often create textures physically and import them in order to get the texture that I want - because it's more authentic and I have more control than creating it digitally.   

 

@echochernik Do you think professional artists have to learn digital in order to have a career in the current market? I prefer traditional art but have learned digital mediums for applying my art to things like book covers and marketing materials.

@echochernik Thank you very much.

 

@echochernik I love the idea of importing your own textures! I do that too! I also noticed with volume 41 that we had more traditional art focused winners than previous years.

Posted by: @tashari

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Can you talk about how to get into licensing? It's something that multiple judges recommended to me, and I was planning to look more into it once my kid is in school and I have the time to devote to it.

 

I have plenty of experience cold-call emailing ADs and publishers while breaking into book cover illustration, but I'm not really sure where one would start for something like licensing. How do you pitch yourself? Should an artist have a cohesive body of work (a la Amy Brown fairies as an example) to present before pursuing? (As opposed to a more general illustration portfolio.) How important is having agent for something like this?

 

Thanks Echo!

I've always been approached for licensing deals.  Currently I have a licensing agent that handles this for me - making it easier, so I don't have to worry about the contracts or searching for licensing deals.  However, I still get approached occasionally (usually just random emails, or at shows).  However, my biggest suggestion would be to check out the licensing shows - there's a big one in Las Vegas around May each year. This is where Amy Brown gets her licensing deals (I know, because we're with the same agent).   

One of the reasons to keep your copyrights is for future licensing. I have work from YEARS ago that I can dig up and use for licensing now. It's been sitting in my archives forever - and suddenly someone will ask for "random plants" - and boom - I can make a paycheck off of some really old art.  So, when it comes to selling your copyrights, or taking on work for hire art - keep in mind that you will not be able to license that art in the future.  This should all be reflected in the upfront payment for your job.  Copyright and WFH pays significantly more to offset licensing loss.

Hello Echo! Thanks so much for doing this AMA. I am always impressed with your large booths at the various cons I have attended. Can you tell us what cons you attend and about your booth, and a little insight into your booth's development?

 

Posted by: @jason

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Hello Echo! Thanks so much for doing this AMA. I am always impressed with your large booths at the various cons I have attended. Can you tell us what cons you attend and about your booth, and a little insight into your booth's development?

 

Hello!  Thank you!  I just got back from GENCON which is my largest con, with the largest booth.  I do everything from very small booths to very large (I can fill a 3' table all the way to a 10'x20' booth).   Over the years I've acquired a variety of displays depending on what the show is that I'm attending and how large it is.  For GenCon I bring my full set of ProPanels with my pro panel extenders, lights, several foldable tables, and several fitted tablecloths.  We used to use carpet hooks to hang art on the pro panels, but now we use velcro whenever we can.  I also have a photography stand setup which travels nicely when I fly.  Hint - if you're checking your photo backdrop, use a hard golf case - it can go in oversize luggage without being charged for oversize).  I used to use black sheets and carpet hooks, but now I have velcro backdrops which are amazing because the art just sticks to it.  I also use both flip books filled with art (I have four), and print bins for people to flip through.  I prefer that people flip through the bins - because once it's in their hand they are attached to it.  I get my clearbags from clearbags and board all my art.  I have a really huge 9 color printer here in my studio.  Sometimes we ship boxes ahead to make life easier. The number one suggestion I have for doing shows - get to know other artists and help them out! Loan them things, etc - because it will come back to you - you WILL forget your tablecloths, and your neighbor will happily lend you some.  So helping each other out is soooo important. 

The booth is always a work in progress and changes from year to year. You learn new things to make your life easier.  It's hard work doing shows - but so much fun.

 

What makes the Illustrators of the Future an important resource for an artist?

 

Posted by: @johngoodwin

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What makes the Illustrators of the Future an important resource for an artist?

 

Illustrators of the Future is one of the few *legitimate* contests out there.  There's no cost to enter, and you can actually win money and published work - plus gain invaluable information which will launch you ahead in your career.  Times are different now than they were when I began, and illustrators have to be on top of it to succeed, and IOTF really helps ensure that you come out of the gate strong!  

 

@echochernik Do you know if there is an industry standard for the artists percentage when they license their image for use in commercial products? If the artist isn't getting an up-front fee and just getting a percentage of sales? And, if the artist was going to conventions and selling their work in person-would you recommend avoiding licensing that would put art on items like posters?

Echo, I know that you do a lot of vector art, which is super impressive to me! Adobe Illustrator is a program that I, as well as other artists I know, avoid. 

Could you talk about when and why you chose vector art, and share resources that you would recommend for learning it?

Do you have any do's and don'ts regarding art direction? Do I stick to my guns or listen to the art director??

@echochernik Since winning I've met a lot of art students and youngsters at conventions who are looking to become professional Illustrators, and they've been very curious about what they can do to jumpstart their career. Would you recommend they go ahead and start submitting to illustrators of the future now? Is there anything you would recommend they do-to improve their work quickly-enough to win the competition?

Posted by: @tremani

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@echochernik Do you know if there is an industry standard for the artists percentage when they license their image for use in commercial products? If the artist isn't getting an up-front fee and just getting a percentage of sales? And, if the artist was going to conventions and selling their work in person-would you recommend avoiding licensing that would put art on items like posters?

I offer limited edition numbered giclees on canvas - so I avoid having my work printed on canvases.  However, when it comes to open runs, it depends on the image - my older images have been at the shows for years - so licensing them to be in mainstream stores will help reach a wider audience.  That choice would really depend on your personal online store structure - whether you think you would be competing with your own poster sales.  Right now I have my work licensed for lots of things - Diamond Art, Embroidery (that does well) - oh, do avoid Heaven and Earth designs though - they recently went hard AI and ditched a lot of their artists pretty aggressively - so I would suggest Unconventional Xstich, who are amazing.   

My licensing agent negotiates an upfront advance against royalties - and he takes either 10 or 50 percent (depending on the venue where the company found my work).  He sends a check quarterly.

Besides products - I also license work for use - my opera posters, for instance - have been licensed several times.  Generally, they are licensed at about fifty percent of the base cost of the original poster, but that can be adjusted depending on the size of the opera house.  So, if the original poster cost $2000, the licsense would be 500-1000 depending on if there are changes involved.  The license is then written up giving them "industry exclusive usage for 1 year" - which means no one else uses it.

Everything is always negotiable - so don't be afraid to ask if you're not happy with what you're being offered.

 

What is the most important aspect that you look for in applications to the contest? 

Echo do you have advice for artists aspiring to win Illustrators of the Future who aren't sure which skills they are missing or where to fill the gaps? Are portfolio reviews something you reccomend and is there a good resource for that you recommend? I wonder if we could set up something like that in the forums with the caveat that artists only include art they aren't submitting?

Posted by: @tremani

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@echochernik Since winning I've met a lot of art students and youngsters at conventions who are looking to become professional Illustrators, and they've been very curious about what they can do to jumpstart their career. Would you recommend they go ahead and start submitting now? Is there anything you would recommend they do-to improve their work quickly-enough to win the competition?

I definitely recommend that they begin submitting right away.  A lot of artists are held back feeling they are "not good enough" - and part of winning is gaining confidence.  No one else sees their work, and no one ever makes fun. It's completely blind.  If you don't win one quarter, it doesn't mean your work isn't good, it just means there was a lot of competition that quarter, so try again next quarter.  It's also great practice just getting everything together and submitting it! Give yourself a deadline to do new pieces each quarter - and make an assignment of it.  Just remember - no ai!

 

@echochernik We had Frank Frazetta sign a few hundred of 5 different very high end lithos printed on archival paper and framed. The prints are sought after at shows and sell for almost $1,000 each because they have his signature.

 

Posted by: @clfors

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Echo do you have advice for artists aspiring to win Illustrators of the Future who aren't sure which skills they are missing or where to fill the gaps? Are portfolio reviews something you reccomend and is there a good resource for that you recommend? I wonder if we could set up something like that in the forums with the caveat that artists only include art they aren't submitting?

Besides IOTF, Muddy Colors and SMart School are both amazing. You can learn so much from other artists and online nowadays! Portfolio reviews are important - presenting your work is a skill, and we work on that in the week long conference in LA.  IlluxCon is also a fantastic place to go - it's in October, and there are professional portfolio reviews offered there as well!

 

Posted by: @breanda-petsch

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Echo, I know that you do a lot of vector art, which is super impressive to me! Adobe Illustrator is a program that I, as well as other artists I know, avoid. 

Could you talk about when and why you chose vector art, and share resources that you would recommend for learning it?

Vector art is different than Raster art in that it's completely resizable until you rasterize it.  Which makes it ideal for things like logos, type manipulation and anything else you want to have clean edges no matter what size. This is because the computer remembers the mathematical curves and can resize everything cleanly without pixels.  Once you rasterize it, it's set to that size.  I like blending both - because I like the clean lines of vector - however, I will often rasterize it at the desired size.  I do  this because I like the feel and look of the lines and the way that it's a shape based program.  This is another example of how all of these programs should be thought of as tools - just like a paintbrush, versus a chalk pencil.

 

Posted by: @breanda-petsch

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What is the most important aspect that you look for in applications to the contest? 

I look for a strong style, the indicator that the artists loves what they are doing.  I also look for something telling a story - this IS an illustration contest, so I'll always choose a series of illustration over a series of pieces that are simply beautiful paintings or portraits.  I'm not looking for any particular media, or style - I believe that the "Illustrators of the Future" should show a wide glimpse into the future - and we don't know where that will lead - so as long as the artist has a strong style, sense of composition and is telling a story, I pass it on to the other judges (even if it's not particularly to my taste - it's not about taste, it's about skill and execution).

 

@echochernik Craig Elliott, yes, that Craig Elliott who has been art director for Disney, Netflix, et.al., never entered Illustrators of the Future because he didn't think he was good enough!

What variety of subject, skill, media, ect would you recommend an illustrator showcase when submitting to the contest or for their illustration portfolio? Is it better to show your proficiency in one media and subject, or show more variety in your work?