How To Draw Cartoons For Kids Who Love Drawing

If your child likes to draw cartoons, your child may be showing off a talent that may by his career. How to draw cartoons for kids, gives them time to practice to become better as they grow up. As a parent, you can do some things to help your child practice drawing. Purchase some drawing material such as paper, pens and pencils for your child so they can prosper in their new hobby. These hobbies should not be ignored, if a kid really enjoys drawing, be sure to encourage their talent.

Being able to draw is a talent; it has nothing to do with education. You want your child to keep at his talent by practicing and they will improve. You want to do some research about drawing. There is information all over the internet providing tips on drawing and becoming a cartoonist. Visit your local library and check out books about the related topic.

It is a good idea to keep a portfolio for your child. By doing so, you can easily store each drawing and he or she can look back at past drawings from their younger years to see how much they progressed. This will also give them inspiration to continue and it is rewarding to the kid.

Learning how to draw cartoons for kids who really are interested may eventually consider this as a career. This can be very beneficial if they continue to practice and meet the right people. This is why a lot of research will help.

If you have a computer in your home, using the internet can be a useful tool for your child to learn some tips and suggestions. Learning how to draw cartoons for kids is quite simple this way. Be sure to utilize all resources for your child to be able to prosper in their drawings.

As years go by, you can suggest to your child to practice their writing skills. Although this isn't required to be successful, it is useful to have. Typically a cartoonist has excellent writing skills. As your child practices more, they increase their chances of becoming the next Jack Kirby.

Author:Trevor Johnson

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how to spot a (potentially) bad customer

Freelance artists often need to go the extra mile to create customer confidence, and encourage potential clients to commission artwork.

Many artists advertise their services using the Internet, and populate their web pages with example works to demonstrate their style and competency. From the artist’s perspective, the Internet is a great marketing tool.

A web site is arguably not such a good shop front from the customer’s perspective. The difficulty the client faces is that they cannot be sure how their artwork commission will turn out, nor how it will appear full size and in the flesh. In short, commissioning artwork on the strength of Internet images can be a bit of a risk.

Many Internet artists seek to mitigate the prospect of disappointment and dissatisfaction by working on the basis of either a small deposit, or no down payment at all. The artist bares the whole risk: if the customer is not happy, they pay nothing. Generally, this approach works very well, but occasionally results in a great deal of work by the artist for no reward. Most practitioners accept this possibility, but it can be quite a downer when you (the artist) know you have done a good job, but the customer seems to have completely different expectations, and rejects the work.

Sadly, artists using the Internet will inevitably encounter customers who act without any apparent sincerity, and commission works that they have little intention of ever buying.

A problem with email correspondence (normally the vehicle of Internet transactions) is that it is harder to read between the lines of any dialog. To put it another way – there is no body language, and it can be tough to differentiate between the genuine enquiries and those where the client is playing a game.

The point of this article is to attempt to highlight some of the traits that may signal a bad customer. The following hints are by no means fool proof, but merely good indicators of potentially disingenuous clients.

If someone genuinely wants an artwork to be produced, they can be expected to put a bit of effort into communicating their requirements, and evaluating their chosen artist. The first warning signs are therefore:

1. Enquiries that are extremely brief, and sloppy (poor grammar and spelling), and;

2. Enquiries that pose questions that are clearly answered on the artist’s web site.

Be wary of enquires that ask, “can you do this picture”, rather than specify wishes (like the size required, etc). This indicates a lackadaisical attitude to the purchase.

Similarly, be suspicious of enquires raised because the customer cannot be bothered to use your web pages to find an answer (like asking for an address that’s on your contact page).

Idleness is a good indication that the customer expects you to jump through hoops to please them. If a client has unreasonable customer service expectations, they may have other awkward perspectives too?

When customers ask questions that are answered on your web site, simply refer them to the appropriate page on your site rather than invest time in drafting a comprehensive reply. To put it another way, make your response effort equal to that of the enquiry.

Most of us proceed with some caution before embarking upon any purchase. Whilst we might like to have portraits of all our loved ones, we tend to dip our toes in the water before commissioning a gallery of paintings.

3. Be suspicious of anyone that commissions multiple artworks (unless they have purchased work from you before): this is not normal behaviour.

You should be especially on your guard against anyone who attempts to commission several pictures of the same subject. It’s possible that the customer may be planning to get you to complete three paintings with the intention of only buying the one they like most?

If your customer wants more than one picture, suggest a staged approach; do the first painting, get paid for it, and then tackle the next.

Lean to recognise, and respond to your gut feelings. If you feel that a particular enquiry is potentially insincere, answer it, but leave the customer with a question to answer (e.g. when do you need the artwork by, etc). By placing the ball back in the client’s court you give them the opportunity to authenticate their interest in a purchase. Genuine customers will willingly feed you with information.

Try asking for a deposit. Genuine customers will happily provide a small good-will down payment.

There is nothing wrong with operating in a manner that mitigates customer risk, but you need to also diminish your own vulnerability to bogus commissions, and proceed in a slightly different manner when a customer shows:

few signs of taking any effort to express their desires,
study your advertising, or
exhibits absolutely no signs of caution about buying unseen goods.

by John Burton

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