Illustration

Setting Up a Print on Demand Store

Store header

The last couple of months have been hectic. Unfortunately, in all the chaos, I forgot to blog last month.

Better late than never!

Please note: I am not being paid to review print on demand platforms. All comments are my personal opinion and are formed from my experience.

Stepping Out and Setting Up a Store

I am one of the most risk-averse people on the planet; however, thanks to Nina Rycroft (during her ‘Project Portfolio’) and her guest, Nic Squirrell, I was encouraged to set up my first Print on Demand store.

By setting up a Print on Demand store, I hoped to make, at least a part of, my living. Like many artists and illustrators, it is necessary for us to have multiple sources of income.

How Did I Decide On Which Platform to Use?

I read the FAQs on well over a dozen print on demand (POD) sites, and created a spreadsheet on which I could easily see the similarities and differences of the platforms, then googled reviews on these sites.

I decided to start on one of the smaller platforms, Redbubble.

My First POD Store

Since I was a complete POD newbie, I watched several Youtube videos and read a few blogs before setting up my Redbubble store.

To my technophobic delight, I found Redbubble to be a simple, intuitive site, easy to navigate, and in no time, I was uploading my artwork to my new store.

One of my favourite aspects of Redbubble is that you upload your illustration / design ONCE, enter the design description, and then you either:

  1. De-select the merchandise items your design is not suited to, OR
  2. Manually edit your image to make it appropriate for the merchandise items.

Save, and ‘hey, presto!’, a new design, and many new merchandise options have been added to the store.

What is the Hardest Part of Using Redbubble?

The most challenging and time-consuming aspect of creating POD merchandise doesn’t actually occur on the store platform.

The hard work takes place in the scanning and digital editing (digitising) of the illustrations.

I use GIMP, and am happy to report that this software is not only free, but can do everything that I require for editing illustration images.

I have watched many tutorials about GIMP on Skillshare and Youtube in order to get up to speed, but it has been totally worth it.

I am not a digital artist. I work with watercolour and coloured pencil (and occasionally ink). The next couple of paragraphs are about what I experience when I scan and digitally edit my traditional media pieces for use on POD platforms.

It can sometimes take a couple of hours to get rid of the background paper texture from an intricate, filigree-type illustration, but it is time well spent, when you see how good the images look on the merchandise. This extremely necessary step guarantees brilliant results. If you do not delete the paper backgrounds, the images look grainy and unprofessional as the paper background is printed onto the merchandise.

Be aware that the software cannot always differentiate between the background paper and the colour yellow or other pale shades. To those who use Photoshop, please comment if yellow is a problem for you when cleaning up artwork. I am interested to find out if this is just a GIMP issue or if it is a yellow issue.

I have theorised that my yellow watercolour paints are very transparent, and that other very pale shades are super transparent too, which may be why the software cannot detect a difference between the paper and the painted areas.

Please comment if you have some knowledge about this.

Another word of warning, if you use a cheaper scanner, although the scan will still be clear, you may find that the colour is either weaker, or that certain shades simply do not scan accurately. I love using Bright Opera Pink, and it makes the most gorgeous shades of purple when mixed with different blues (and amazing bright oranges when mixed with lemon yellow); however, my scanner does not read Bright Opera Pink. Any areas painted with this colour show up as an extremely pale, icy pink. I have to digitally touch up any work done with the more luminous shades. My scanner doesn’t even represent Quinadcridone Violet or Magenta accurately.

One day I will invest in a better scanner.

Your merchandise images are only as good as your scanning and editing. In a way, digital artists have the edge over traditional artists when it comes to reproducing work.

What Do I Like About Redbubble?

I have already mentioned why I like the Redbubble system.

I also like the product range, which is smaller than some other platforms; however, all the items are well-priced and, I think, popular.

I like how clean the set-up is and how easy it was to learn to use it. It is very logical, and not technical.

So, Am I Selling Products?

Yes! My store is new, but I have made sales – long may that continue!

My Second POD Store

I am currently setting up a Zazzle store.

Zazzle is a very different beast to Redbubble. It cannot be compared to Redbubble as it is a considerably larger platform in every respect. I will give you the pros. and cons. as I see them.

Pros.

  1. Massive number of merchandise options.
  2. Huge variety of merchandise options – you can specialise, if you choose. For instance, you may decide to only create stationery items, or clothing and dress fabrics, or only household items. Or, like me, put your merchandise on the products you like and believe will sell – eventually! Quite a lot of people selling on Zazzle only sell t-shirts, or coffee mugs, etc. For those designers, Zazzle is a simple and easy tool.
  3. There is a great range of goods at different prices. You can purchase small, cheap items; or large, speciality items that cost a bit more.

Cons.

  1. I found that Zazzle was not as intuitive and simple to use as Redbubble. Redbubble is so easy to use that I initially felt very frustrated with the Zazzle system. Having stuck at it for a while now, I have accepted it for what it is, and am coping with the system and its requirements.
  2. It is not as straight forward as Redbubble if you wish to put your designs on a greater number of items. Although you upload your design once, there is no really quick way to create merchandise. For items that are in the same range, for example, badges, you can upload your design and it will automatically be available on different shaped badges, or badges made from the same material. You can decide whether to turn off this option. If you upload your image to a badge, it will not be available on t-shirts or tea-pots until you upload it to those items.
  3. Zazzle is a much more time-consuming platform to work on. I believe the system is this way because of the necessity to set up SEOs (search engine optimisation) for the products. Apparently, you can create product templates, but I was confused by the information as it did not seem to apply to the kind of work I was doing. As previously mentioned, technology is not one of my strengths, so if any of you know how to help me out with time-saving methods, I would love to hear from you.
  4. Description data is required for every merchandising item you choose. I have a system, and now am pretty efficient as I work; however, it takes many hours to create all the merchandise options that I may wish to use. Redbubble takes about 10 minutes!
  5. Redbubble has more colour options available for merchandise items. Only a selection of default colours is available on Zazzle, whereas, Redbubble has custom colour options for the majority of items.
  6. Because I am not American, it was a NIGHTMARE wrapping my head around the IRS tax form. God bless the New Zealand IRD – their tax forms are so much simpler to fill out!

I have chosen to continue building my Zazzle store because I consider it as time invested in passive income. I won’t need to do this again. I also remind myself constantly: NO PAIN, NO GAIN. Hopefully people will start to see my merchandise and like it enough to buy it. It will be worth the hard work.

I have sold only two items so far, but hopefully sales will increase as I add more items and designs.

Are You Thinking of Setting Up Your Own POD Store?

Nic Squirrell recommended that artists put their illustrations on as many platforms as possible. That is my goal.

After watching other POD artists, the general consensus was:

  1. Keep producing new work – this encourages repeat customers.
  2. Update your stores regularly.
  3. Upload to as many different POD platforms as you can.
  4. Upload your designs to as many merchandising options as you can; however, don’t be tempted to put your designs on all options, as not everything is suited to a particular design. Choose items that suit your work, and delete any merchandise you are not happy with.
  5. Advertise your stores. I try to share my store items 5-6 times per week. Apologies to my Instagram and Facebook followers who feel ad-bombed. I am just trying to catch that one person who is trying to find the perfect birthday gift for someone who has everything.

What is So Great About POD?

One of the best aspects of print on demand platforms, is that the artist does not have the expense of producing merchandise. Instead you upload your work, choose your products, sell them to the public, and receive royalty payments. The platform manages the manufacturing of the goods, shipping to the customer and the payment to you.

The royalties vary between platforms, so take the time to check all of them out.  

So, What Can a Print on Demand Store Mean for the Shopper?

These print on demand platforms are a great place to find gifts. They cater for everyone.

And Now…

For the time being, however, I am content maintaining my Redbubble store, and developing the Zazzle store.

Please Check Out My Stores:

https://www.redbubble.com/people/auntiebetty

https://www.zazzle.co.nz/store/auntie_betty

Even if you are not interested in purchasing anything, please feel free to like the designs and follow my stores. This helps move my store through the ranks, which hopefully will mean some sales.

If you are interested in purchasing any of the merchandise items, please keep an eye out for the sales. There are regular sales on both Redbubble and Zazzle.

If you purchase items, please feel free to email, message, Facebook or Instagram me with a review and a photo. It would be lovely to ‘meet’ my customers.

A Shout-Out:

I have a shout-out two Instafriends, who also sell their amazing artwork on print-on-demand platforms.

Please check out their stores too:

  1. Lise Holt Art: https://www.redbubble.com/people/liseholtart
  2. Squibble Creative Services: https://society6.com/squibble

This is my recent experience of setting up print on demand stores.

I have heard very good things about Society6, so hopefully, one day, I will start a Society6 store too. Some of the other POD platforms are: Threadless, Bucketfeet, Design by Humans, Spreadshoes, Bags of Love, Sunfrog, Café Press, Teerepublic, Spreadshirt, Teefury, Vida, Art of Where, Be Smart, etc.

Please comment if you have a POD store, and if you would like to contribute to any of my thoughts.

Please join me this time next month when I review a couple of lovely picture books. Until next time…

Illustration

My Favourite Skillshare Teachers – Part One: Nina Rycroft

Pastel Poodles - Mint & Lilac.jpg

NB: As I have blogged before, I only review products I like. I am not being paid to make any reviews. My apologies for missing October’s blog. Setting up business from home has been time-consuming.

These are my favourite Skillshare teachers so far:

  1. Nina Rycroft
  2. Ana Victoria Calderon

I have learnt so much about picture book illustration from Nina. She is happy to share her knowledge, and has created brilliant on-line workshops.

These are the workshops I have done with Nina (though she has created others that I have not done yet):

  1. 101 Guide to Picture Books – Nina explains:
    • The importance of strong characters in picture books and how they need to portray action.
    • Determining the intended reader and if your characters appropriate for the age group.
    • Creating distinctive characters.
    • Producing a dynamic setting for the book (colour and mood, layout).
    • Storyboarding the plot.
    • Character interaction with the plot.

 

2. Face Shapes – Explore Character Using 9 Simple Shapes

  • The title says it all. I had a ball during this course. It gave birth to a new and exciting style for me. I cannot wait to produce human illustrations now, but I have a lot of animal work, which will take me a while to complete, before I can do some ‘human’ work; however, this course can be applied to animals too!
  • Some examples of my course work (completed using Derwent Inktense pencils with Pebeo Aquarelle Fine Watercolours):

    3. 101 Guide to Drawing Eyes

    • This is a must do course if you are planning to learn illustration or cartooning. I was gobsmacked how much expression can be relayed by just working on the eyes!
    • All of Nina’s course are hugely beneficial, however, this is one of the simplest lessons to learn and can revolutionise illustrations!
  1. Emoji Me – the Art of Drawing Facial Expression
    • I loved this course, as it hit at the heart of my Achille’s Heel. Until this course, I had been excessively reliant on reference photos. I had my nieces and nephews acting and posing for me. The photos were not always that successful! I am a terrible actress, but with practise, I managed to ‘get’ what Nina kept saying. Draw from the inside out! Draw the emotion. By the way, the only time I have taken selfies was during this course! Here is a sample of my work:EMOJI.JPG
    • If you are like me, and struggle to act (especially in front of a camera), these books may be useful. I am keen to add these to my library at some point. I saw another artist review them on Youtube, and they look very, very good!

https://www.bookdepository.com/Artists-Complete-Guide-Facial-Expression-Gary-Faigin/9780823004324

https://www.bookdepository.com/Facial-Expressions-Mark-Simon/9780823016716

https://www.bookdepository.com/Facial-Expressions-Babies-Teens-Mark-Simon/9780823096152

  1. How to Draw the Head from Every Angle – Part One

This course covered what I already knew about facial proportion, but pushed into the different views (front vs. profile (side) view. I have always relied heavily on reference photos, but this course empowered me to draw without reference. Wow!

IMG_20180115_193812~2

  1. How to Draw the Head from Every Angle – Part Two

This course pushed me out of my comfort zone, like no other! I have been reluctant to use modelling clay or polymer since my disastrous clay modelling project in Standard 2. I sculpted a pig, which exploded in the kiln and which looked more like a square sausage than a pig. Even though I did this course on one of the hottest days of the year, thanks to Nina’s brilliant instructions, I produced a model head I was, and still am, proud of. It is far from perfect, but it looks reasonably close to my sketch. Sadly, her tendrils have broken since the course.

I am keen to do more character modelling in the future. FYI, James Gurney also makes models for his illustrations. For more information about his models, check out his book ‘Imaginative Realism’ (this is one of the best books for illustrators, and one of my favourites!):

https://www.bookdepository.com/Imaginative-Realism-James-Gurney/9780740785504?ref=grid-view&qid=1543099132500&sr=1-1

  1. How to Draw the Head from Every Angle – Part Three

This course is simply about using your model to draw the head from every angle.

Here is my effort (apologies for the poor photos – I will still trying to master my new phone!):IMG_20180117_114823~2.jpg

  1. Draw a Circus of Characters – Exploring Body Shape and Body Proportion

I have read many books on figure drawing, and I have learnt a lot from each of them (I am planning a blog on my favourite figure drawing books for the future), however, none of them covered what Nina taught in this course. In fairness to those books, they were meant for realism studies, not illustration; but I learn so much from this course that has been invaluable to me. Since doing this course, I have been able to draw more interpretative figures (cartoons), and that has been a rewarding and exciting experience. Nina teaches using shapes to develop character figures, just as she did with the ‘Face Shapes – Explore Character Using 9 Simple Shapes’ course.

Here is an illustration I did after doing this course:

I have loved every single one of Nina’s courses. Every course has taught me valuable and exhilarating lessons. However, this course and the next one on this list, were by far, my favourite and the most influential in my work. This is how I used shape for an illustration:

Aurora Penguins.jpg

  1. Draw a Circus of Movement – Simple Techniques to Bring Your Characters to Life

This course transformed my illustrations. As previously stated, I have always relied heavily on reference photos. My nieces and nephews were very accustomed to being asked to ‘do this’ and ‘do that’. I have applied this course information to my work and I love animating animals. This course doesn’t actually cover animals, but what you learn here can definitely be applied. I am planning another blog on this subject. After doing this course, I attempted my first picture of animal movement, that was not drawn from a reference photo. I made several studies of giraffe before attempting to animate them. This was the finished result:

  1. Draw a Circus of Line and Gesture – Design a Picture Book Character from Start to Finish

This was the most relaxed I have ever been when designing a character. Before I was always in a perpetual state of either indecision or vacillating between possibilities and ‘tripping over my pencil’ in my haste to get something, anything onto the paper, and hoping and praying that it would appear magically and perfectly all by itself! And of course, it did not!

This course, and all the others, has made it possible for me to have a process to work under.

Having a process is very important to me, as I am one of those control freak people who need to have a step-by-step method, and stick to it assiduously…until I hit a problem. My day job, teaching brain training to people with learning disabilities, and my past role in the insurance industry, taught me how to ‘think outside of the square’ and find solutions to problems. These two mindsets have enabled me to finally make progress in my illustration work. I am so excited by this, that I want other people to have the opportunity to learn what I have.

I would like to encourage anyone who is an illustrator, anyone who wants to be an illustrator, anyone who is dissatisfied with their artwork, to give Nina’s Skillshare courses a go. I believe you will be invigorated and excited by what you learn. She will teach you step-by-step methods for developing your characters.

Currently, I am developing art courses that are cognitively (brain) based. I want to teach people to draw realistically, understanding colour, learning different media, etc, by unlocking your analytical and observational skills. I have found that once these skills have been honed, learning from passionate tutors, like Nina Rycroft, will be rewarding and fertilize the growth of your creative ability in ways you could never have imagined.

Thinking back to what I learnt from these courses was like reawakening a dozing dragon, and I am so thrilled. I am always hungry to work on illustrations, but reminding myself of what I have learnt, has made me voracious to create something.

I planned, at the beginning of this blog, to cover Ana Victoria Calderon’s courses too, however, my enthusiasm for Nina’s courses has been like ‘the magic porridge pot’ spilling over, and I will keep my review of Ana’s courses for next time.

Until next time…