One of greatest things about collective sites is the amount of cool works they got. ER.GE.BE is a Brazilian design collective studio and is the home of many designers. They have done pieces for many major companies, such as MTV, Nike, Adidas, BMW, among many others. Their work consist mainly inspired in pop art, pop culture, rock, bright colors, lots of contrast, and teenage culture. They also have done a great site for a Christian ministry called SexxxChurch, a Christian Porn Site (in their own words). There is a version in portuguese and one for spanish speakers. Check all these and enjoy! Cheers! ;)
Just a quick update on the new art group, Epoch, Since Epoch was founded, just 3 days ago, a massive 46 members have joined, with a lot of potential amongst them. With this growth in mind, I have updated the forums software. So far, we have two applications, but unfortunately I cannot judge them on my own, so that means I'll be needing some help. I've promoted 3 members to admin status, but I still require one more. This place will only be filled through invite only, so if you think you have what it takes, email me at firstname.lastname@example.org with evidence of your work, and I'll get back to you. In order to get in, you will need to assure me that you will be a regular member, who posts and uses the forums a lot. Also, just as a reminder to people who have joined but haven't come back, applications are now officially open, so get them in! This site can't move forward with new designers. For those who haven't heard of Epoch, please feel free to join.
It's really cool when you find designers that work with many different styles. Jonathan Kenyon and John Glasgow, both from England are like that: multi-talented. Together, they launched Vault49, an awesome design studio that's been doing some great work in NY, collaborating to with the Artful Dodger clothing brand. You may see some cool work of them here, and you also may visit their website! Cheers! ;)
A strong trend for movie posters we've seen in the last months is hand drawn posters. Mostly used for indie movies, it's a really fresh kind of design, and I'm really loving it. Some of the greatest movies I've seen in the past 6 months had hand drawn posters and were indie... so I'll guess the I'm probably a sucker for that kinda movie anyways. Here is a little list of some of these great posters, most of them found at the Internet Movie Poster Awards. Better view.
We've seen some works from depthCore already, a great group of designers. One of them is Jonathan Wong, a great designer living in Ireland. He gently answered a few questions for us, and now we got a great interview for you guys! 1. First of all we would like to thank you for taking the time to provide Abduzeedo with this interview. Please tell us more about your art and design background and what made you become an artist and designer? You're welcome, Abduzeedo! Anyway, my name is Jonathan Wong. I live in Ireland in a city called Limerick. I've always had a passion for art. Ever since I was young, I would draw and paint a lot. I never really saw it as a possible career for me. It was not until I discovered digital art that I realised that there was a big opportunity in designing. With this realisation, I applied for art college in Limerick and got in. I am currently going into my second year in Graphic Design. 2. Which tools do you usually use? Both "traditional" (pencil, markers...) and digital. Traditionally. I use a lot. Pencils, paints(acryllics and oils), Pitt Pens, biros etc.. Anything that makes a mark really, I'll try. And digitally, I use a Wacom drawing tablet and a big ol computer. 3. Do you work in a office? What is your routine like? What are your research resources? I don't work in an office. I freelance from home for the most part. I wake up. Catch up with some friends during the day and then burn the midnight oil with my art at night. For research, obviously the internet is something I use but I also like to read books. Not really if I want to research something for a commission but just to get inspiration for myself for my own personal work. 4. Could you describe for us your typical 'start to finish' workflow when working on a design? Typical start to finish. It goes from my mind to some paper to my computer. Or sometimes I may just skip the middleman and just go freestyle on the computer. It all depends on my mood. 5. What, for you personally are the pros and cons of being a designer? Well at the moment, I am a freelance designer so I'll tell you about the pros and cons about that. The cons for me personally is that there is never a steady income. Sometimes you may go through patches where there is not many great offers to take on that you want to pursue further. Deadlines can be very tight at times for clients so that is also a con, though it must be said, tight deadlines come with the territory anyway. However, there are many positives. The fact that you can work at home, that you are your own boss. You also get to freely decide what projects you want to take on as opposed to being an inhouse designer where you have little or no power over what projects you take on. 6. How does your job as an artist and designer influence your life? Do you feel that you see things around you differently for example? I think as a designer, I feel I have a greater appreciation for design in general. Where some people may take everyday designs for granted, I don't. Designers work in visuals everyday too. We have to work in images, so when I see things that may seem banal to an ordinary personal, I don't see it for what it is but for what it might be. 7. We like to know what artists do in their spare time to get some fun. What do you do? Sports, television, movies? In my spare times, I love spending time with my girlfriend and my friends. I love football so I'll watch that when it is on. I don't watch television that much because I will normally have whatever TV series I want to watch on my computer. I'm a big movie buff also. 8. What are your favorite 5 websites, and why? http://www.depthcore.com - Great people, great art. http://www.evokeone.com - Been a member there for quite a while. Still really enjoy being there. A lot of nice artists there too. http://www.youtube.com - Who doesn't love youtube? http://www.artofwong.com - What is an interview without a shameless plug? http:/www.imdb.com - Awesome movie database (And of course Abduzeedo, an awesome sourse of inpiration and design news!) 9. Once again , thank you very much for the interview. As a final word, do you have any tips for upcoming artists and designers? You're welcome again! A final word? Hmm, just enjoy what you do and the rest will fall into place.
Born in 1975 in Alès (South of France), Sophie Griotto is a designer whose artistic path began through applied arts at Nîmes, Toulouse and Paris. Since then she's been able to work with illustration story board for some arts agencies. She makes beautiful art portraiting women, and reminds a lot of Robert McGinnis. Her focus is at the contemporary urban woman, and researches her accesories and attitude, which makes her personality a lot more original. Even though she doesn't use much lines, Sophie compensates using lots of colours in her designs, what makes her work really stunning and vivid. Her tools of trade are the graphic stiletto, pencils and pastel crayons. Sophie's favorite artists are René Gruau, Tadahiro Uesugi, among others. I really recommend that you visit her portfolio, she's got a lot more beautiful works there. And if you notice, I kinda tried to translate her french about me. lol Cheers! ;) photoback
This post will tell about the amazing art of packaging- and product design, because it's very amazing how professional companies and even just people with a nice experience with a computer can come up with great results. Enjoy! A good source of great packaging design I found on Flickr is SageMedia. They make awesome designs, below a few examples: Ofcourse the package isn't everything, the environment helps presenting. More evidence Flickr seems to be a good resource: And ofcourse flickr isn't the only place where you can find these pieces of art. This one is my favourite, great, simple and effective. Product Design Food Packages aren't the only things which can get designed, following; some stunning product designs. The Aquarium Sink A regular sink can turn into a real experience with one of these, poor fish though, they will get flooded with water. You have to admit it, it's great Lets Go Digital! Yes you're right, there are designs for digital products as well. A computer controlled with a set of chopsticks A nice looking SatNav More on this: Veerle's Blog On Packaging Design Smashing Magazine On Product Design I hope you enjoyed my second post here, Daan
Hi everybody, nice to see you here again. Now I come out with my second post. I come out with Tragiklabs Artworks. The arts is just awesome, with some Psychadelic arts. Tragiklab Inc. is: The experimental playground of Dhanank Pambayun a.k.a tragikpixel evolving to an experimental room for various commercial and personal projects such as, 2d animation,graphic, digital/manual illustration, and much more, also support any independent projects, like a offline and online digital art exhibition After an intense two years experiment, tragikpixel has turned into tragiklabs. But Lately Tragiklab is dead, and turn into Evergrunge The arts is really awesome. He process a single image one by one and combine them into one great masterpiece, and the result is just COOL!. Here some arts from him. Hope you like it n_n!! Hello Motion Flash Film First Light Selleys Bathroom Commarts
Hai everybody, this is my first post for this blog. For this time, i just want to greet everybody by showing some vector arts from here (vector arts from Indonesian Deviant Artist). Hope you enjoy this n_n Lately i've seen many great vector arts from my country. Most of them inspired me, some of those looks funny with a nice composition, the others are nice with a few color. . For me those arts are cool and give me unique sense when see it,, wish you too :)
I thought that these classic and modern designs on plates were pretty good. As some of you may see, there are some nice shapes inside the plates design. There are also some colours that go well together will the design. Here they are...
We've already featured some artists from DeviantArt, great ones... and it's always good to find more great artists, like Vitaly Alexius, who makes a kind of post apocalyptic art. I've seen only a few artists making this kind of art. It's really dark, yet, very beautiful. Alexius is a true master of digital painting. We'd love to hear from him about his techniques someday. Thanks to our reader, Pawel who sent us the link to Alexius work.
When it comes to design, working a piece itself is not the complete process. There are lots of planning, researching and a little bit more planning. And it's always good to know what other people say about that process. Dan Saffer found a good way to go. About a year and a half ago, when I first started thinking about the material that would eventually become UX Intensive: Interaction Design, I wondered what it was that helped designers make those leaps of faith, the great guesses, that we have to make on projects. So I came up with this talk, How to Make Good Design Decisions. -Dan Saffer | View | Upload your own
It's great to see some surreal design on the web. Emeric Trahand is a French designer who's been doing some really nice surreal work. But he's a multi-talented artist and also has other great works! Here are some of his pieces... I bet you guys have already seen some of these around the web. Anyways, it's always good to remind how good a designer is! Don't forget to visit his website at Still on the run. Hope you like it!
Yes, the brazilian both designer and illustrator Doug Alves from Nacionale hasn't updated his site for awhile. But if you don't know his works already, please check cause it's awesome!
This morning I've received an email talking about a new sort of reality show created by MTV and HP, it's called Engine Room. What's cool about this new show is that it's for digital artists from all around the world. So if you are a digital artist you definitely have to check it out, it's a great opportunity to show the world how talented you are . Besides, you will have the chance to become famous and have lots of fans. "Engine Room" is a new MTV series which will be seen around the world. Once selected, 16 people will be flown to New York City commencing on or about July 18, 2008 through on or about August 16, 2008 (collectively, the "Filming Dates"). They will compete in teams of 4 participants each for prizes by creating animations, websites, short films, sound mixes and more in the "Engine Room". For more information visit the Engine Room website at http://www.mtvengineroom.com/.
One of the most important and hardest things to overcome when designing is to understand when the piece you are designing on is actually finished. while creativity is sometime boundless the end result should always be the result of a clear objective, the end result. I often get caught between creativity and completion and from the emails I've received, I have discovered im not alone .So we asked the experts. Before the answers I’d like to thank all designers that answered this question. And a special thanks to Justin Maller for the great help. Also we'd love to know your opinion, so leave a question telling us when do you think a design is finished. Chuck Anderson - http://nopattern.com When any more would be too much and any less would be too little. Knowing when something is finished comes down to an eye for composition and detail, in my opinion. If I can look at the image and it has good balance and just "feels" right. It's hard to explain, you just kind of know when it's time to stop. Of course, if you're working for a client, it's time to stop when they say it's time to stop! James White - http://www.signalnoise.com I see my artwork as one big organic process. If I like elements and methods I developed in previous pieces, I am prone to re-use them again in a different way for a new work. Art is constant exploration, so in a way I am never finished my work. However, when I feel an individual design is going well the best thing to do is close it and step away for a while. I let my eyes rest for an hour or so. When I return to look at it again errors and inconsistancies tend to be very obvious. In the end, if I can look at a piece of my art the next day and it still looks okay, then I'm on the right track. Everyone has to think about their personal workflow to find the proper balance of achieving your goal with a given idea, while not overworking it at the same time. Justin Maller - http://www.superlover.com.au I know a piece is finished when I set it as my wallpaper and don't notice any flaws. Guilherme Marconi - http://brain.marconi.nu/ I always ask myself the same thing, like if it has met my expectations. It's done when I let my feelings tell me if everything is OK. I use the same thing to choose colors, where to add shadows, and the most important, if the process to get to that point was pleasant and satisfactory. That for me is more important than the end result, and for me, it's done. Then it's just save it and show to my fiance, my main critics. Collis Ta’eed - http://eden.cc, http://collistaeed.com/ "I know a design is finished when every time I add something or adjust something it seems to get worse. I often create a set of history snapshots of the design trying different things - additions or small alterations - and then show them to my wife - who is also a designer. When we both agree that the original is already complete then I delete the snapshots and stop there. Of course sometimes adding one more element can lead you down a whole other path of design, and I have wound up totally reworking a look. But that's the joy of design, there are always many solutions to a problem!" Alberto Seveso - http://www.recycledarea.co.uk well.. i don't know! I'm never sure when a piece is ended or it seems good, I try and risk, but I have a small secret to say, I never look the illustration of forehead when I believe is ready, I tilt my head of 45° on my left side and I look the monitor, if I like from this position I consider done. Jeremie Werner - http://www.evasion.cc/ When I think my artwork is finished, I usually put it in an another place for one week. It's important to think to other things, then to look back to your artwork. You may see details you haven't seen before. You may also look at it very close, then very far to see if composition is really working. Another good trick to find composition problems is to flip your image vertical. When flipped, the artwork tends to show easily his problems. I may also get feedback from other designers friends, but most the time the artwork is something personnal that only you can feel. Sean Hodge - http://aiburn.com/ A design is finished once it has accomplished the project goals. What those goals are varies depending on the nature of the design project, whether it's client work or personal work, the audience you're targeting, and others. Every project should have criteria that need to be met. Throughout the process you work to meet those criteria. Once they are met, you're done. You need to build in stages into your design process where you are the critic. If you're a constant skeptic you can't create, but you need to build in time to analyze your design. Ask yourself questions. Is the design interesting? Does it communicate what we're after here? Is the typography legible? Does it meet our goals? Run through a checklist in your head. A good designer is their own worst critic. Keep in mind though that you need to set reasonable limits on this process based on the end audience, deadline, and project scope. If you're refining details that the audience won't notice, then your pushing unnecessary pixels, and your hindering both your business and your clients. Bruno Borges - http://OIT8DOI2.com I think every design when reviewed has some room for improvement. Actually it's true because we can always make it better. When it's possible I review my designs a couple of times to sort of work more on the details, small things that only are revealed when you stop working on that piece for a bit and then get back. So, when the design is literally done is when it meets the client's needs. Chris Haines - http://neondistractions.com I think a design is finished - it doesn't mean I am always right - when everything works cohesively and the details hold up from far away, without looking cluttered. Jeff Huang - http://www.thefifthorder.net You just know it. You are the artist, so nobody else but you have the right to say that it's finished. I work on my own artwork until I'm 100% satisfied, so I guess I know my piece is finished when I am fully satisfied. Kai Isselhorst - http://riskshiftlabs.com I normally throw alot more in my illus then neccessary. After a day or two I start to remove every weak element to give it a perfect look. Its finished when I know that the viewers cant be overexerted by the composition. Max Spencer - http://www.monostation.co.uk I'm never 100% happy with any piece I've made, so in my eyes, no piece I have ever made has been finished. There is always more I feel I could do to the design when I look back after a week or two. Perttu Murto - http://www.perttumurto.com It's hard to tell when the piece is really finished, because you could fix and fix it forever.. When it looks good and everything is nicely together, you should save it and check it next day. That's how you will notice if there's something still what needs to be fixed. Joshua Smith I am finished with a piece when nothing else I add looks good. To me this means the piece isn't finished, it's simply reached my creative limitations. Nick Delaney - http://cargocollective.com/nickdelaney I never really feel finished with an art piece. In my opinion all my artwork is an ongoing artwork, and I always seem to refer to my old ones to create another one. Essentially all my art work is one big one, because they all relate to each other one way or another. Alexander Radsby - http://www.aeform.net I always overdo my work and usually resort to going back and erase most of it. If I'm still happy with the work the next day then I'll say it's finished, but it could really go on forever. Bart van Leeuwen - http://www.imallfake.com A design is finished when satisfied at the moment in doubt what to add next. Jonathan Wong - http://www.artofwong.com A design is finished when it communicates your message clearly and concisely. Kervin Brisseaux - http://www.brisseaux.com I'm never sure if a design is done unless i take a break from it and don't bother looking at it until the next morning. If what I see the next day puts a smile on my face, then it's done. Phil Dunne - http://www.lovetherobot.com As Andy Warhol once said about art, 'If you don't think about it, it's right.' When I start to get goosebumps while I'm working on an illustration, it feels right. That's when I know it's time to stop. Erik Finsrud - http://www.thenorik.com My work is normally never finalized till I've received feedback from my peers, they will always see something in a way I haven't. I enjoy involving others in my process. James Wignall - http://www.mutanthands.com When the deadline is met.
He's also known as Cris Vector, his illustrations are superb and we had the pleasure to have him interviewed so we could get to know a little bit more about this work process and the source of such great inspiration. To get to know more about his work, visit www.crisvector.com or at DeviantArt crisvector.deviantart.com. 1- Cris, welcome to Abduzeedo! Tell us a little bit about you, where you from and who you began working with illustrations. Hi, Fabiano. Thanks for the opportunity... about me: I'm from São Paulo, I'm 28 years old. I've worked for 6 years as a graphic designer for projects such as CD covers, books, magazines, food and toy packs. Today I don't work any more with graphic design, I've accumulated all the experience I've earned during this period (working with clients, using softwares, getting to know the process of industrial printing...) and decided to satisfy an old desire of working full time with illustrations. Before, I did make some works of illustration, but it was all connected to the graphic design I used to produce. Actually, all my development was pointed for me to become an illustrator. In 99 I finished a technical study of comunication drawing, where I've learned and could develop many painting and composition techniques, besides getting to know lots of theory studying history of art, esthetics and photography. Before finishing this study I've came to work as a scenographer and with cartoons, but these were frustrating experiences to me. Finishing the study I've managed to work in a graphic design studio as a trainee, but it turned out as a full time job and a second study. It was there were I've came to learn who to use the softwares I use today, and I got to learn a lot about the printing processes and all the routines of a studio. In 2005 I thought that I had accumulated enough experience and decided to work with illustration. I already had a good illustration feedback from my clients (much more than my work as a graph designer) and that motivated me to try walking this path in a professional way. It worked out and I've came to this day working a lot. 2- Explain who your work technique works and who is it called. Does your drawings begin hand made or is it all done digitally? All my illustrations are done entirely digitally I usually use 3 basic techniques: digital composition, digital painting and vectorial illustration. These techniques blend with each other many times, I may use composition elements on a painting (pictures insertion, for exemple), using vectorial elements in a composition or using digital painting elements in a vector illustration. Nothing is too 'pure' as an oil painting, for exemple, where you begin and finish it in the canvas, usually my works migrate from support and softwares, and what determinates that is the final result I'm looking for. Some time ago I would start all my work by making pencil made sketches. These sketches were done in 2 steps: the first one was miniatures of illustration, something that I would do to introduce the elements and organize 'em in work space... it was only for me to have a full view of how I could compose the scene. The second step was making these sketches look better, making smoother lines and curves, when I would draw more detais, would define proportions and base lines, after that I would scan it, would send it for client approval and would finish it using these scanned images as base. Today, I don't sketch anymore, I do it all digitally with a tablet. At the beginning I thought it was really weird, but now I already have enough experience to make all my sketches digitally. The whole process got a lot faster and a step was eliminated, because I can use zoom to make my miniatures and make the sketch itself look better. As soons as it gets ready, I already have a digital file to send to the client, with the need to use a scanner... and when the sketch it approved I use the same file to finish the illustration. 3- Do you work in a office? What is your routine like? What are your reasearch resources? I work alone at home. Actually, my whole apartment is my office. Since I work most part of the time, wherever I am is the office itself... television, kitchen, bedrooms, are all secondary to me. I don't usually have a routine because each work is a new situation and a new problem to solve, but some kind of method is necessary, otherwise everything gets messy. Since I already told you guys how the illustration process is, I'm going to tell you how the work is ordered and sent. I have a few clients that already know me, so they call me and make the orders directly to me, but a few clients visit my site and send their requests by email. In both cases is the same thing: I ask for a detailed briefing about the project, something that will make me understand what the client is asking for, when possible I ask for references that might reinforce what the client wants from my work. I ask about the use of the piece, who's the final client (if an agency contacts me, the final client is the one they're working for) and for how long the client will use the illustration. With all these informations I have enough to make a budget and send it to the client along with how much time I need to do it. Once the client approves the budget and the time to do it, I start to produce. First I send the client a sketch, when approved, I begin finishing it. Once is finished I send another e-mail pro final approval, if approved, I send the final file and charge it. My research sources are many. Everything is going to be up to the piece I have to do and to the information I need to complement an idea. I ahve a big list of illustrators' works that I like and often visit, even if I don't have to make a research for a piece. There's no way to list all my references, but I'm going to tell you the ones I visit the most. • DeviantArt (www.deviantart.com), I have a DA account and I update it everytime I have a new piece... recently I've submitted 2 works done for depthCORE, which I'm a member of. I also like to check the works of other people, that they post in their galleries. DeviantArt got lots of people from all around the world, with many different cultures and different skill levels. It's really great to see so many works in just one place. Very inspirating as well. • depthCORE (www.depthcore.com), I'm a member of this it the digital art collective. From time to time, we launch work collections called "packs", with works done with the same theme, which is proposed and selected by all members. The main objective is nothing more than technical and creative exercise, along with co-working with other artists. • SIB - Brazilian Illustrators Society (www.sib.org.br), SIB is the place for Brazilian illustrators who want to become professionals, besides show casing the works of Brazilian illustration elite. They also share important documents that every illustrator must have, such as budget models, Creative Commons contract models, referencial costs lists... • Behance (www.behance.net), it's a social networking site, only for professionals from the fields of design, fashion, illustration, photography, advertising, etc. It's a great daily source of inspiration and professional contacts with people from the whole world. • Drawn (www.drawn.ca), it's a well known blog, I like to visit it and check out news about illustration, professional illustrators, cartoons, etc. There are other sites I like to visit, but as I said, they're too many to list here. 4- And what about your tools, what software do you use? Is there any special effect that you usually use or any tips you might wanna share? My "Harware" tools (besides my body and brain) are an i-mac 20'', mouse and tablet. The graphic softwares I use are Photoshop, Illustrator and Poser. There's no special or secret effect I usually use, something that I might call a rule... Usually I look for solutions in each case, depending on what I want my work to look like. I just wanna suggest the "blend" tool from Illustrator, which is really underestimated, but for me is of great use for creating textures and half-tones. 5- I've noticed that you got a great number of works in yout portfolio. Are they all done for clients or are some experimental? Everything I make I put in my portfolio, and I think that most of it are experimental, done to be sold as prints or just technical exercise. Not always clients accept some kinds of works, but I want so much to do it that I end up doing it to me. In general, people enjoy a lot my experimental works, and a great part of the popularity I've gained (at sites such as DeviantArt, for example) comes from the appreciation for my experimetal line of works. 6- Who are your clients, Cris? Are they all from Brazil or are working world wide? Who do you make your work known? Great part of my clients is from Brazil. Most works come from agencies... the ones I'm working for the most are Pande Design and Seragini Design. Through these agencies I could work to Del Valle, Perdigão, Jornal Estado de São Paulo, Mabel, Dona Benta, Penalty, and others. I also work for editorial market, in this case, I usually contacted directly by the client, and the main ones I work for are Editora Abril (Vip, Super Interessantes, Você S/A and Aventuras na História magazines) and Richmonde Publishing, represented by Editora moderna. I've already done and I'm still doing works for clients abroad, they're not too many because there are greater difficulties dealing with documentation, contracts, taxes.... all burocracy per say. I'm working this issue so I can wide my work in the international market, where curiously is where I have a bigger projection. Today, people end up telling each other about my work and that brings me clients. The ones that appreciate my work usually recommend me to other people and like that, things go on and on. So, when a client contacts me, he already knows what he's looking for. I also use the sites I'm a member of to stablish a good networks of professional relationships, people end up knowing my work and recommending me to other people. When I began as a illustrator, with few clients, I would do the basic system: make calls, schedule meetings, present portfolio. Today, I rarely do that. 7- We like to know what artist do in their spare time to get some fun. What do you do? Sports, television, movies? Any tip of things to do in your city? Actually I have very little spare time. But when I've got some, I tend hang out with my wife, talk a walk, go the movies, theater. I used to party, but now it isn't possible. I really like sports... I used to play voleyball and soccer, but I lack organization on my personal time to practice these sports once more, I miss it sometimes, but I end up not doing it. I don't like television that much, the only thing I watch are a few series or movies, sports and world news, and the rest for me is totally unnecessary. Here in São Paulo there are lots of things to do. Many good restaurants to go, many cinemas, theathers, parks, parties... my only tip is to go out and have fun. The São Paulo night is great, with many options in several neighborhoods. 8 – Thanks a lot for this interview. Do you have any tip for the people who might be starting to design now or anything you might wanna add? Thank you for this oportunity. My only tip for the people who are starting now is to be persistent and to get to know the area you want to work with. Many illustrators have began without too much of a notion of who to deal with clients, with more burocratic processes which are important for an illustrator's success. The majority of them can't wait to see their work published and that is a weakness which clients take advantage of. So, it is important to research, get to know the needs of the client that you wish to work for, understand what will be your use, come up with budgets that won't make you pay for your own work and to make you get your own money without messing with the market itself. You must know contracts, undestand and stay tunned about what they say about use licenses and get to know if the paid value by the client is right for the use he wants to make of your work.