We all get knockbacks in our careers. We don’t get that client we really wanted, or a job gets killed. That’s life. But what if you send work around, and keep sending it around, but get no response? What should you do?

How do you know when to keep going and when to give up? In this 3 minute video Lilla gives it to you straight, and also offers her top tips for hanging in there when times are tough.

If you are fed up of not getting responses from potential clients, join us for Make Art That Sells Part A/B and learn exactly what art directors are looking for, in the top ten lucrative markets for art. Sign up here, but hurry, class begins on March 2!

In this 4 minute video, Lilla explodes the myths around knowing if you are ready to make a living from your art, and gets into what it is really about.

Lilla also reveals the one question you really need to ask yourself, and shares a HUGE insight which will boost your confidence immensely. Don’t miss it!

PS If you want more confidence-boosting advice and insight from one of the top art agents in the world, don’t miss Lilla’s wildly popular course ‘Make Art That Sells’, which teaches how to make great art that sells in ten of the most lucrative markets out there. Class starts on March 2. Sign up here. Hurry, not long to go until we begin!

Our ‘Q&A with Lilla’ series is back! This is where we share questions from the previous class of Make Art That Sells.

In Lilla’s Make Art That Sells classes she often gets asked about how to sell work in particular markets, so we thought we’d share some of those questions and answers with you.

The next Make Art That Sells classes will start 2 March, 2015 and registration is open here.

You can see what a wide variety of topics are covered – and you might even find the answer to that burning question you have been wanting to ask! These questions were asked during the MATS Part A class last year.

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Q. How much attention do you think your artist pay to ‘trend’?

A: Because we don’t live on Mars, for example, all of us are aware of trend to some degree, including even my hippest artists. The purpose of my course is point you in the right direction, so that, for example, you aren’t doing nude figures or still life for bolt fabric, just to give an example. Clients are all about looking at trends, buying trend reports, researching who is manufacturing what, so it’s real. That being said, know what’s out there and then lead the way with your own vision. If you understand the market and the consumer, then your vision is informed. I see so many submissions to me with subject matter, vibe, style, and color that I cannot sell.

Q. How much traditional art is actually licensed or used for commercial purposes? I am struggling with the idea of making art that makes us happy which is what you tell us to do, or doing something out of my comfort zone that may be more commercially viable.

A: That’s the million dollar question. Since we live in a commercial world, where if we want to make money with our art we need to sell it, but we also need to be true to ourselves so we don’t kill our soul, the how search is about finding the happy sweet spot where we love our work and yet it fits the needs of the buyers. This comes over time, as you make lots of pieces of art. Make all the kinds of work you like, and then watch as they meld together into something original AND marketable!

Q. Is there any stylistic difference between Retro and Vintage? Is one more marketable than the other?

A: Not really. Retro tends to mean mid-century, or a couple decades ago, and Vintage tends to be older, like earlier in the previous century.

Q. I have worked primarily in the fashion industry where it is very important to have multi-directional prints because they can turn the pattern pieces to fit more closely together so that there is less wasted fabric. I’ve been noticing the icons on many of the bolt fabrics you showed us in the MATS class were single direction prints. Is this something that is not as important in the bolt fabric industry?

A: You are correct. In my experience, this is not a factor, as the companies have great technical people that can and will do all that. They are looking for great style, ideas, colors, icons, etc.

Q. I feel that my style isn’t probably for the bolt fabric market. I usually don’t use a lot of different icons in my design and like simple design styles like Marimekko and Orla Kiely. Is there still a market for me if my style is so different from the ones you show in the class.

A: I love those looks, too. However, to my knowledge, they are done in house. That’s why I show the work I do. But look at fabric sites and see if you can find work you relate to.

Q. Does 8 colours on Illustrator/Photoshop include tonal variations of the same colour?

A: Yes, generally every color counts.

Q. In your interview with Crate N Barrel, you asked how they like to be approached. It sounded like email is not the best approach for an artist that they haven’t worked with before. With your experience, what have you found to be a good approach for an artist to present work to a Home Decor company?

A: We have a relationship with Crate, so we send ideas and images to them all the time. A company like Crate is in huge demand, so it’s difficult to get into. I know that they judged our Global Talent Search so that approach may work there, for example. Also, they are always on the lookout for new artists, so start with other companies that you can submit to, build up your business, and see what happens.

Q. I am always wary about putting my art on my website, especially the art I have product ideas for. I do post images with watermarks and at 72dpi but it doesn’t stop people from downloading that image and using it. In your experience, what do you recommend to help protect your artwork?

A: One must show work to get work. I advise that you show plenty of work on your site and in various social media channels, but also have a password-protected gallery of some of your work for your best clients. There is a downside to everything. If you never showed your work, you’d never get work. If you see someone copying your work, you can write them a cease and desist letter, or require them to pay a fee, or if the work is already licensed, notify your client and they may go after the copier in question. If in doubt seek professional advice from an intellectual property lawyer or an organization like ACID (Anti-Copying in Design).

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Got your own questions for Lilla? Join us for the next round of Make Art That Sells. Class begins on Monday 2 March, 2015 and registration is open here.

Welcome to our ‘Insight Spotlight’ column, where we share insights from industry experts in some of the hottest markets out there. This week we are pleased to offer expert advice from Anne Brown of Studio M

Primary Market: Our focus is servicing Gift Stores, independent specialty retailers. I really enjoy this market as it supports the “buy local” movement and is never stagnate. There is always a desire to make something new or to put a modern twist on an old idea. Be aware of the industry. I always encourage new artists to become familiar with the industry and walk one of shows during Market before they really start designing for it. Ask retailers what is selling, what is working for them. Research!!

How can this market be lucrative for an artist?

If the artist takes the time to really understand what works for the client, there can be great success. Coming to the table with a concept for a product line, rather than simply a body of art, there is far more appeal and opportunity for long term success. It is rare that I work with an artist who just furnishes flat art. The artists who have seen great success in our industry have often introduced a new idea, not just a new piece of art.

What is going to be hot in your market in 2015 such as subject matter, colors, products?

Being mostly outdoor product, our colors need to be as bright and bold as possible. I am seeing less layered, mixed media and seeing more simplified designs on clean flooded backgrounds. I am thrilled to see more humor….I enjoy reading copy that is clever. We always do well with outdoor subject matter: birds, butterflies, seasonal icons, etc but are excited to be exploring more surface design and typography!

What kinds of products/offerings are a growth sector for your company?

We have a unique business model. We specialize in functional outdoor products that are decorated. We are having the greatest success with concept-driven lines and less lifestyle collections.

What do you look for when buying new art?

I am always looking for something I feel like I haven’t seen before or a new approach to a timeless motif or icon. That being said, great art is where is all starts. I like to see that someone has thought through the application of the artwork on the product and whether it is a good fit stylistically.

Is there any rhyme or reason to why some products sell well and why others don’t?

It is a perfect storm of great price, quality, design and timing. The perceived “price-value” of the product is important. In any wholesale business, retailers need to buy into the idea and then endorse it. The product needs to sell itself, but the support of the retailer is critical in the success of the product.

What is the one thing you wish artists would do differently when pitching art to you?

Or what do you love that they do when they pitch to you? I love it when an artist knows what I make! You would be surprised how many people send portfolios of images and really do not think through whether the designs are appropriate on the products I produce. Not all art is a good fit for all products!

What one piece of advice do you have for artists trying to sell their first piece of art in that market?

If you get a “no thank you” from a company, clarify if it means “no thank you” to a specific design or “no thank you” to your look. If it is “no thank you” to a design, keep trying, find out what didn’t work for them and try again!! Also, while we are collecting artwork year round, there are peak seasons. Find out when those are and what the Creative Director might be needing that others haven’t provided! If the “no thank you” was for your look….move on! There are plenty of fish;)

About Anne

Anne has always been drawn to creative people, fascinated by their courage and ability to express themselves through their craft. With her own passion for design, Anne’s entire career has been in product development for the home décor and specialty gift industries. She is someone who took a creative spark as a child and filled her life with a career and people who keep continue to keep that spark ignited.

After graduating from the University of Kansas, where she studied textile design, she began her career with Seabrook Wallcoverings.

A few years later, she became the Creative Product Manager of a new Home Division for Demdaco, later becoming a Senior Product Developer, working on collections including Kelly Rae Roberts, Embellish Your Story, and Lyricology.

In 2011, Anne joined Magnet Works as the Director of Product Development to help expand their current line of products. Through a shared passion for community – artists, employees, suppliers, family, etc., she helped the team at Magnet Works to create a new division, Studio M, where she has the opportunity to work with many more artists and bring art to the garden.

Find out more here: Facebook/Twitter/Pinterest/blog

Anne is one of the esteemed judges on the Global Talent Search judging panel.

Want to learn more about making more commercially viable art whilst staying true to yourself? Join our acclaimed online course ‘Make Art That Sells‘, led by top agent Lilla Rogers. Next class starts March 2 – find out more and register here!

So does ‘Make Art That Sells’ actually work? Do artists who take the class actually sell more art? Well yes, they do. We asked class participants for examples of their successes since taking the course, and were staggered by the response, bearing in mind that some people only took the course a few months ago. Here is part 1 in our series.

Students have since secured licensing deals in the gift, editorial, baby apparel, bolt fabric, wall art, greetings, home décor, paper and fashion markets, many have won competitions and a number have been signed for representation.

It’s also really important to say that people join Make Art That Sells (MATS) at different stages of their creative journey. Some are nearly ready to seek out work, others less so. For many people the greatest breakthrough is a new level of confidence in their work, a fresh love of creating, or a deep feeling of connection with others in the community. Success looks different for everyone. The licensing deals, competition wins and studio signings are the easy things to measure. The impact it makes on people’s lives – on the way they see themselves as artists, and the way the see their work – is perhaps the thing that we are most proud of.

Here is a selection of class participants who have a lot to celebrate since taking Make Art That Sells. If you want this for YOUR art career, join us for the next class which begins on Monday 2 March!

Brooke Albrecht

“I took the MATS course and bootcamp classes to broaden my understanding about the kind of illustration work that was available and the different markets. I’ve learned so much and since I quit a corporate design job 2 years ago I now have my own studio and look forward to working for myself and the freedom it offers. The support I’ve gotten through classmates and watching their work and how they and well as myself have grown is continual inspiring. I continue to work daily and know I will grow as an artist with patience and hard work. Today it’s work that comes from what I truly want to do, and bringing joy into making art.”

Since joining MATS and bootcamp in the last year I’ve:

• Obtained my first license with Keva
• 3 pieces of my illustration were accepted and displayed in 2014 Ohio State Fair (very competitive to get into)
• Exhibited my work in 3 art shows 2014
• Currently working on a solo March/April show at the Bexley library, Columbus, Ohio all based on the limericks of Edward Lear

See more of Brooke’s work on her website here: http://brookealbrechtstudio.com

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 Stephanie Olivieri 

“I wasn’t sure about what MATS would do for me, but I am so happy that I signed up for both Bootcamp and MATS A. The piece here was the last assignment from Bootcamp. I have either sold or been offered work from every single assignment I have done in MATS. (I know, isn’t that amazing?) But this piece gained me the biggest jobs (yes more than one) and continues to get the most recognition. I have to say before I say what that job was, that I felt like my style was so different than anyone’s in the courses, I was feeling insecure-even though I work as a professional artist and have for the last 20 years, so to get noticed from this piece, which I was insecure about, just is the BEST feeling. “

I posted this piece on social media and it landed me:

• A children’s book deal with a woman from Texas who is going to also use me for educational material to go with her book and more. I worked on the book in the fall of 2014 and it will be out very soon. It is called Elizabeth The Dreamer.

• The second job that I got from this piece was at a greeting card company. That job started as just a colorist job where I colored some 175 cards and now has turned into both coloring and drawing new ones. I signed a contract for 200 cards and will be busy through fall of 2015! I am super excited. It will be launching in 2015/2016.

So this piece changed my life. Thank you Lilla.

See more of Stephanie’s work on her website here: http://www.stepholivieri.com/

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Barbara Chotiner

“Since beginning MATS, my work has improved in leaps and bounds. I am finally utilizing all my skills (& years of experience) combining design + illustration (and a degree in book arts/printmaking which I haven’t used in 6 years) in ways I never would have done if not for the first time I took MATS. It started in the Home Decor week and I was hooked on making art traditionally but then finalizing my creations digitally. I am making art that I love and feel like everything is coming together. The talented and supportive community has made me push forward my work to the next level. (Make something good into great I am constantly remaining myself!) I feel like finally I got my groove and now I just need more time to create!”

• Series of 4 Nautical pieces licensed by Oopsy Daisy/Greenbox Art (1 was my Bootcamp piece & the other 3 were inspired around it)
• My alternative GTS entry (the one I finished the day after I submitted my actual entry) was licensed by Greenbox Art/Wheatpaste
• I was accepted to be an artist at DENY Designs (includes wall art from MATS 1A and MATS 3A)
• I participated in a holiday pop up shop (My first & featured many products containing MATS art. Also sold many copies of my editorial Main Line map.)
• A local high end children gift shop (Pucci Manuli in Ardmore, PA) is now carrying some of my paper goods and wall art & will be bringing it to the Philadelphia Flower Show, the worlds largest indoor flower show.
• I was commissioned to create 2 map illustrations (one of Philadelphia and one of the surrounding suburbs) by a regional magazine
• I was asked to participate (& create a piece for) a book (by another MATS alum) containing art projects for kids

See more of Barbara’s work on her website here: http://bzdesignstuff.com

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If you want this for YOUR art career, join us here for the next round of Make Art That Sells.

Class begins on Monday 2 March, 2015 and registration is open here.

We receive so many wonderful comments about ‘Make Art That Sells‘, that we challenged our amazing alumni to submit their own MATS Manifesto. We had 161 entries and were absolutely delighted (but not surprised!) by the staggering level of submissions for the Manifesto competition.

Lilla was very impressed with all the entries and announced an overall winner, PLUS 4 honorable mentions. The winner gets a free place on our wonderful new MATS course launching later this year. Our runners up all win a free entry into the 2015 Global Talent Search.

THE WINNER

Shannon Newlin

We are delighted to announce that the winner was Shannon Newlin whose distinctive style is emblematic of courageously and artistically being oneself with a vengeance.

Congratulations on your stunning piece Shannon – you win a free place on you win a free place on the brand NEW MATS course (coming later in 2015), and we will also be giving you a free place on the 2015 Global Talent Search!

We would also like to give honourable mentions to four we particularly loved:

Kelly Angelovic

Kim Johnson

Tjarda Borsboom

Jane Newland

Thank you so much to everyone who entered.

We will be featuring many more manifesto’s on the blog and Facebook page over the coming weeks and months!

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Would you like to experience MATS and learn how to ‘Make Art That Sells’?

Join us for the next round of Make Art That Sells. Class begins on Monday 2 March, 2015 and registration is open here.

Our ‘Q&A with Lilla’ series is back! This is where we share questions from the previous class of Make Art That Sells.

In Lilla’s Make Art That Sells classes she often gets asked about how to sell work in particular markets, so we thought we’d share some of those questions and answers with you.

The next Make Art That Sells classes will start 2 March, 2015 and registration is open here.

You can see what a wide variety of topics are covered – and you might even find the answer to that burning question you have been wanting to ask! These questions were asked during the MATS Part A class last year.

***

Q. For bolt fabric, why is it that if you work digitally you pick a limited palette of colors, while if you are painting you can have any number? What I am wondering is that don’t bolt fabric manufacturers need a limited number of colors for their printing costs to be reasonable? So is there a disadvantage to submit work with a large/painted palette?

A: This is a great question. I don’t know the technicalities of it, but I do know that some bolt fabric companies have told me that they love traditional media and that they are able to either print digitally (full color) or they somehow do the separations. I asked about cost and that was not a concern. Therefore, I would say it’s not a disadvantage, although I haven’t talked to every bolt fabric company out there. The deal is, make art you love and know that painting I traditional media is not a deterrence.

Q. I am very happy with the drawings I’ve made in preparation for an assignment, they are interesting and quirky in some way, BUT when talking about styles, I have been working allot with a specific ‘cartoony’ style the past year, and I don’t feel these fit in that style. I was not consciously going for it, I was just trying out new things.  My question: Do I just keep going, take it as an adventure and see where I end up? Showing I can do various styles.  Or do I embrace the ‘style’ I’ve been using and try concentrate on that?

A: I’m sure that many folks are thinking the same sorts of things. What you’re asking is that what you seem to be doing to prepare is different from what your body of work currently consists of. While there is no hard and fast answer to your question, you can approach it this way: take the MATS course as an opportunity to be open, be free, try new things and see where it goes. The reason for this is that it will inform your existing style and will revitalize you and the work.

Q. My question is about finding a style. I’ve been looking at my work and I’m not sure that there’s a strong coherence between the pieces, I’m a beginner so I understand that with more and more practice a style will develop naturally, but because I like to vary the media, style and technique, I sense that could lessen the consistency in a portfolio. What is more convenient? (For the clients and as an artist) To have an eclectic style and change according to your mood, to decide and focus on one technique and style, to choose a style depending on the project briefing, or to pick, say, two graphic languages and work under 2 different names/brands?

A: Ah, the question of evolving one’s style! I want you to do the following. Over the course of the 5 weeks, write your feelings in a journal regarding your style of the work you do in class. See what emerges.

Put the whole issue of style out of your mind—as best you can—for the MATS 5 weeks, and allow yourself to play. Naturally, your style will evolve. Let the art lead the way, not your mind. That is, let your art and your artmaking—coming from the joy of the art experience—lead the way. At the end of the five weeks, I’d love to hear what you’ve learned!

A style: you can’t force it and you can’t fight it. It will emerge and usually encompasses all the bits and parts of your art personality. Trust that, with many hours of art-making, that it will come to together. I promise you.

Over the years artists have asked me about two different styles with two pseudonyms and my answer is this. It’s hard enough to build up one brand, let alone building promoting two. I advise only one name.

Q. When submitting collections for bolt fabric, is it recommended or useful to include mock-ups at all?  Is there a standard number of colourways to present when submitting, or would you just submit one?

A: Generally, art directors at bolt fabric companies like to see a small collection, like 3 – 5 pieces that they can work with. You can vary them any way you like, such as a few repeats, some coordinates, etc. There is no hard and fast rule.

Q. I’m assuming that fabric printing relies on Pantone colors, vs. the CMYK formula of printing-on-paper. Is that a correct assumption?

A: For limited color palettes where you do flat color like in Illustrator, the colors are like silk screen where they are each printed separately. When the manufacturer does digital printing, it’s more like CMYK. I don’t know the specifics of the printing techniques because my artists just send Photoshop or Illustrator files in CMYK and the client does the rest.

Q. How do we move forward and go about finding a manufacturer to license our art for the specific chosen market, say a bolt fabric company line Robert Kauffman. Do you approach them via email and introduce yourself and perhaps include a print pattern design like we have for week 1? Do we introduce ourself and just attach a website link for them to check our style and design out themselves? What should we say in our first communication to them and who do we send to. I know some of the companies have a artists submission section, but do we get lost in the million who submit there? What is the best way to move forward and present yourself?

A: I go over presentation of your work in greater detail in MATS B, Week 2. I can tell you that all of the above are great. Start where you are and build. Clients need your great art so they tend to look at everything, even if briefly. Your email should be short and sweet, and avoid any typos so that you look professional. You would include 2 – 5 lo res jpgs and a link to your website, unless their submission policy says differently. Even if you don’t hear back, it does not mean that they are not interested; they may be watching you and want to see more work as you create it and grow.

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Got your own questions for Lilla? Join us for the next round of Make Art That Sells. Class begins on Monday 2 March, 2015 and registration is open here.

Welcome to our ‘Insight Spotlight’ column, where we share insights from industry experts in some of the hottest markets out there. This week we are pleased to offer expert advice from Megan Tingley of Hachette Book Group

Primary Market: Children’s book illustration. This market is all about creating a memorable character, such as Eloise, Frog & Toad, Madeline, Cat in the Hat, Pigeon, etc.. Also an intuitive sense of what kind of details kids will invite readers to look at the images more carefully and draw them into the world and a sense of humor.

How can this market be lucrative for an artist?

Creating a character that can sustain a franchise/series that sells and backlists forever cna provide a lifelong source of income via royalties. Conversely, if an artist works quickly, she/he can also have a very lucrative career doing multiple work-for-hire projects, including “ghost art” for an established series with ancillary projects (for example, doodle books, journals, etc. for a popular picture book or licensed brand.

What kinds of products/offerings are a growth sector for your company?

Strong concepts with immediate parent appeal that can stand out and sell in a mass market environment (Costco, Target, Walmart). Appealing to a busy parent who wants a quick and low-priced book purchase for their child the telegraphs immediately but the title, concept, and cover what it is. (Example: this book will teach my child verbal/math/ skills in an accessible, fun way.) But this is very difficult!

What do you look for when buying new art?

Fresh look, character resonance, playful appraoch to integrating text and art. Visual storytelling ability. Distinctive personality – bring your own quirky interests to your portfolio (are you obsessed with insects, cheese, geography, math, animals? Explore that in your portfolio – it might lead to an actual book idea. I have developed several picture books based on greeting card lines that had a unique humorous or emotional theme.

Is there any rhyme or reason to why some products sell well and why others don’t?

There’s no accounting for taste! And trends are hard to predict/follow. But it’s important to be aware of trends. For example, I don’t know why, but pandas have been become extremely hot. The zoos have panda cams, all the street vendors in NYC were selling panda hats, airports are selling panda flight pillows, kids are obsessed with pandas (including my own daughter). A smart artist would be observing that phenomenon and capitlizing on it by pitching stories and designs featuring pandas.

What is the one thing you wish artists would do differently when pitching art to you? Or what do you love that they do when they pitch to you?

Show me pieces that reveal their own personality and interests — not what they think I want to see. I am deeply interested in an artist’s personal passions as I think that’s where all great ideas and art come from. If you have a lifelong love of dinosaurs, babies, or history, I want to know about it and see it! I love if they develop a really unique character and show them in a variety of scenes/settings. This helps me see the potential of developing them as a picture book artists.

What one piece of advice do you have for artists trying to sell their first piece of art in that market?

Don’t over curate your portfolio — each person who sees it is going to respond to differrent styles and ideas so diversity is good. I can’t tell you how many times I have become enamored of an odd piece in an artist’s portfolio and they have said “how funny that you like that piece, I almost didn’t include it in my portfolio.”

About Megan

Megan is one of the top women in children’s book publishing in America, overseeing the Little Brown Books for Young Readers (LBYR) publishing program at the Hachette Book Group, which includes novelty and picture books and fiction and nonfiction for middle readers and young adults.

Megan also acquires and edits select titles for her eponymous imprint, including the bestselling series The Twilight Saga and The Mysterious Benedict Society, as well as many picture books by US Children’s Poet Laureate Mary Ann Hoberman, and artists Todd Parr and Naoko Stoop. During her tenure as Publisher, LBYR’s titles have been honored with the Caldecott Medal, two Caldecott Honors, several New York Times Best Illustrated citations, and selected for the annual Society of Illustrators exhibition and the New York Book Show.

Find out more at hachettebookgroup.com

Megan is one of the esteemed judges on the Global Talent Search judging panel.

Want to learn more about making more commercially viable art whilst staying true to yourself? Join our acclaimed online course ‘Make Art That Sells‘, led by top agent Lilla Rogers. Next class starts March 2 – find out more and register here!

Welcome to our new column ‘Insight Spotlight’, where we share insights from industry experts in some of the hottest markets out there. This week we are pleased to offer expert advice from Mary Ann Hall from Quarry Books

Primary Market: The illustrated book market.

How can this market be lucrative for an artist?

Doing regular freelance work as a designer or illustrator, or if you are a really accomplished artist, perhaps you can author a book.

What is going to be hot in your market in 2015 such as subject matter, colors, products?

Beautiful art and creativity books that offer something really unique.

What kinds of products/offerings are a growth sector for your company?

Illustration practice and technique books have been our strongest category.

What do you look for when buying new art?

A unique vision, total beauty, accessibility for a wide market.

Is there any rhyme or reason to why some products sell well and why others don’t?

Not always. I am sometimes surprised!

What is the one thing you wish artists would do differently when pitching art to you? Or what do you love that they do when they pitch to you?

I like a concise message–and a clear pitch–an overview that really gives the pitch at a glance, with enough supporting material that I see that the artist has done their homework. And tell me WHY it will sell, and how your network will support that.

What one piece of advice do you have for artists trying to sell their first piece of art in that market?

Don’t give up!

About Mary Ann

Mary Ann is an experienced publishing professional specializing in innovative, illustrated art and technique books. For 12 years, she led the art and crafts publishing program for Quarry Books and is currently editorial director for Quarry Books and Rockport Publishers developing books on art, crafts, design, artisan food and lifestyle topics.

Currently based in Shaker Heights, Ohio, she is a Midwesterner who has lived the largest part of her life elsewhere and an urbanite who loves to hang out in woods. As a serial enthusiast, she enjoys many creative pursuits, including Burmese cooking, zydeco dancing, hiking, hot yoga, painting, reading, and having adventures with her children.

Mary Ann is one of the esteemed judges on the Global Talent Search judging panel.

Find out more at Qbookshop

Want to learn more about making more commercially viable art whilst staying true to yourself? Join our acclaimed online course ‘Make Art That Sells‘, led by top agent Lilla Rogers. Next class starts March 2 – find out more and register here!

You may have seen the fabulous work in the January Bootcamp gallery published yesterday here. For the 2015 edition of Bootcamp we have invited some of the talented Lilla Rogers Studio artists to contribute with some surprise bonus lessons. You can meet the featured artists below.

Silvia Dekker

Silvia Dekker grew up in a small village in the middle of the Dutch flower district. She went to The Royal Academy of Art in the Netherlands to study Conceptual art and design. After graduating Silvia went on to study Fashion and Textile design for 3 more years and started working freelance as a surface pattern designer and illustrator in 2001.

Silvia started working for European department stores Hema designing patterns for their baby- and children’s wear collections, soon followed by their homeware collections, postcards, bedding, stationery, toys, and Christmas collections. Hema has been her client for 12 years now.

After collaborating with international clients O’Neill sportswear and Oilily ladies and girls’ wear Silvia became one of Lilla Rogers Studio artists in 2009. New clients Hallmark, teNeues, Fisher Price, American Girl and Target followed. In 2012 her first fabric collection ‘Winter Warmth’ in collaboration with Wilmington prints was released, followed by ‘Atomic Bots’ in 2013, a robot and spaceship fabric collection for boys.

Her work has been featured on several blogs and magazines including the Print & Pattern blog and book, Flow magazine, UPPERCASE magazine, Lilla Roger’s book ‘I just like to make things’ 101 Living ideas and Bloesemkids blog.

Silvia lives in the old city centre of Leiden near Amsterdam with her partner and 2 boys. She is inspired by fairytales, folk art and vintage fabrics. Her colorful flower and vegetable garden in the Dutch countryside is also a great inspiration for her floral patterns.

For her Bootcamp Bonus Silvia will be teaching Basic Adobe Illustrator drawing skills!

Connect with Silvia here: Website | Artist page

John Coulter

John Coulter has been working as a freelance illustrator  for over 15 years and with Lilla Rogers Studio since 2001. He has been commissioned by a wide variety of clients including Target, Anthology Magazine, Virgin Airlines, Papyrus, Barnes & Noble, Los Angeles Times, Entertainment Weekly, Washington Post, Utne Reader and Wine Spectator.

John was raised on a farm near Joy, Illinois. He grew up drawing constantly, exploring the woods, hunting mushrooms and working on the farm. At the county fair, he would strategically create an entry for every drawing category and win a blue ribbon in each.

He didn’t enjoy working with pigs, so he dreamed of a more creative career. He earned a BFA degree in Visual Communications at Truman State University in Kirksville, Missouri. After college, he spent over 2 years as a Peace Corps Volunteer in the Dominican Republic.

And yes, he lost on Jeopardy.

For his Bootcamp Bonus John will be teaching how to create textures on vector art in Adobe Photoshop

Connect with John here: Website | Artist page

Talitha Shipman

Talitha is an illustrator and graphic designer based in Fort Wayne, Indiana.  She went to school for studio art at Taylor University, Upland, and then headed south for an MFA in Illustration from Savannah College of Art and Design.  Some of her clients include: Little Brown, Random House, Birds and Blooms, Galison Mudpuppy, American Greetings, Hallmark, Cricket Magazine, and many more!

Talitha is also a designer and animator for Blue Pony Motion Design.  Yes, she’s a busy lady!  She loves drawing dogs, flowers, birds, people or anything else that strikes her fancy.  Her specialties include book and greeting card illustration.

For her Bootcamp Bonus Talitha will be teaching Painting in Adobe Photoshop!

Connect with Talitha: Website | Artist page

Suzy Ultman

Suzy was raised in central Pennsylvania, playing in the woods and collecting stickers. She finds inspiration in scouring antique shops and flea markets, spending time in nature, walking down quirky city streets, and doodling on sticky notes.

As part of the Lilla Rogers Studio gang, Suzy has worked with Chronicle Books, Land of Nod, Crate & Barrel, Papyrus, Abrams Books, Robert Kaufman Fabrics, K&Company, Madison Park Greetings, Oopsy Daisy, and many more.

Her charming creations grace the shelves of Target, Archiver’s, Anthropologie, Urban Outfitters, Crate & Barrel, and Modcloth. Suzy’s vast variety of products includes holiday ornaments, home decor pieces, journals, craft kits, stationery sets, dolls, and fabric collections. The work is simple and sweet, from an artist who lives in a land of mustached snails and apple houses.

For her Bootcamp Bonus Suzy will be teaching how to design your own logo!

 Connect with Suzy here: Website | Artist page