Maybe you’re always sketching or doodling on scraps of paper, or maybe you just love crafts and color. But you’d never consider making art your career — after all, they don’t call them starving artists for nothing. The world has grimly informed you that you need to choose something more practical… but do you?

The following five women took their passion for art and turned it into a viable, enjoyable career. So can you.

2-D Animator Lisa Pasternak

Years of Experience 5

Salary Range Starting salaries usually in the $40K range; you can work your way up to $55-60K, and managerial roles will pay more

What an animator does:

An animator brings together images and assets (such as audio and music) and brings them to life. The videos I create can be educational or just fun.

People usually think Disney or Pixar when they hear “animator,” but nowadays a lot of companies want how-to videos or whiteboard animations, or they’re putting little animated graphics on top of a live-action video. Large companies may create an animation about their company for a conference or for recruiters — they want to show what they’re about without being boring. This is where the world is going: People don’t want to read, they want to watch.

Hitting the books:

I’ve always loved art and been creative, but never knew how I could use my talent — I’m not a painter, I’m just an artsy person. I decided to go for graphic design since it was something I could learn. The schooling was a lot of fun; I’d stay up all night to finish a project just because it was so exciting to me.

After I got my BA in graphic design, I worked in different graphics jobs for three years. A friend of mine who works at Aleph Beta, a website run by Rabbi David Fohrman that creates animated classes about Judaism and Torah, recommended me for an animation job. Since I’d had taken a few classes in animation and video design when I was in college, this felt like something I could do. I basically learned on the job.

All in a day’s work:

First, I get the script and read through it — I need to be sure I fully understand the Torah behind it so I can illustrate the concepts properly. If I have any questions, I ask the content developers. Then I start storyboarding. We go over every sentence and map out everything we need to illustrate the video, ending up with a massive document that explains what the video will look like.

We have a huge library of images and backgrounds that we’ve compiled over the years, so we can reuse a lot of them, but we make a list of the new ones that we need. Not everything is created from scratch — we do find some vectors online that we can tweak; I may find a background, but need to add a house to it or crop the grass.  And of course, we’re not going to find images like the Beis Hamikdash or the Luchos on a stock images site. We create those, and then can use them multiple times. We have a library of characters as well. They’ve also evolved over the years — they’re much better-looking now!

We create the images in Illustrator, then put all of the assets into After Effects, the animation into the animation program, to actually put the story together and add voiceovers. There’s also the music that runs through each video. We spend a lot of time making sure the music evokes the right emotion at the right time. Then of course we do a ton of reviewing.

We then get critique from people who haven’t seen the video yet, to make sure we illustrated each concept correctly, and make some more edits, until we finally have a product that’s good to go.

Why I love my job:

I bring Aleph Beta’s Torah to life, taking the words Rabbi Fohrman and other writers have so eloquently written and turning them into video others can learn from. Rabbi Fohrman’s Torah can be pretty complicated, it has a lot of facets to it — being able to see the ideas in an animated video makes them a lot easier to understand.

Memorable moment:

I can’t take the credit for this, it’s our whole team, with Rabbi Fohrman at the forefront, but a few years ago we had a Tishah B’Av video about Rachel and Leah. A friend of mine told me that after gaining this new understanding of who Rachel was, she named her daughter Rachel.

You should become an animator if:

You’re creative and can immerse yourself in a scene for long periods of time. You have to be able to see different perspectives. If one character’s talking, what’s the other character looking at? You need to make things as realistic as possible so they can be relatable. And you need to have a lot of patience — you work on the same thing for a long time — but it’s a lot of fun.

Before going into this, you should know:

It’s not easy to find a job right out of college — companies want to see experience. They’re less concerned with your schooling than with what you’ve produced, so make sure you have a large array of projects to show them. Get any job having to do with graphics — it’s about building a portfolio.

You probably don’t need to know the exact program the company uses,  but they’ll want to see that you have the ability to animate and create. Show them that you’re passionate, open to learning, and convince them that you can do what they do.

(Don’t Just) Move It!

Animation goes hand-in-hand with graphics. It’s not that impressive to claim, “I found this image online and made it move.” You need to be able to create images, backgrounds, scenes, put it all together, then animate what you’ve created.

Branding at Miller Creative: Yael Miller

Years of Experience 20

Salary Range $35,000–$90,000+ (entry level to  creative/art dirctor)

What a branding agency does:

We bring brands to life. It’s about defining what we call the “big idea”: What makes a company or product unique? Why should it exist? Then we express the big idea to the world with language and visual assets. Our branding agency specializes in consumer product brands, mostly for food items. The rules of branding, though, are applicable across the board. We do some retail, restaurant, and corporation design as well.

Hitting the books:

I have training in web design, but got most of my training in the branding field. I learned a lot doing design and marketing for Astor Chocolate in Lakewood. Eventually, I decided to freelance so I could have more time with my children. Our agency, Miller Creative, launched in 2007 and kept getting busier. Early on, my husband joined forces with me, and now we have several employees.

All in a day’s work:

You need to define your demographic, which takes careful insight into the market and competition. We research local stores, and sometimes we help our clients conduct focus groups or we reference data reports. Larger clients may provide us with more in-depth market research data.

For example, if we’re working on a package for chocolate-covered nuts, we might get retail scan data of store sales for the top ten brands. There are usually clear reasons where you can see why it makes sense that a specific brand is selling more or performing poorly.

If product sales are flat, we may decide that we need to do more than just a gentle rebrand. Maybe the brand is aging out — now it’s only attracting older consumers, and we want to capture millennials. If the brand is losing sales, we’ll study the competitors to help our client compete more effectively. Often, this means they need a more up-to-date identity. You have to be careful with heritage brands — if there’s a lot of brand recognition, you don’t want to jeopardize that. In such cases, a brand “evolution” — as opposed to a full brand overhaul — is a better strategy.

While we usually don’t create customized container shapes, we do a lot of advising about the materials used. We also work with packaging suppliers, since there are a lot of details that could be overlooked by someone inexperienced. For example, a barcode should be printed from a single plate color with specific measurements so it will scan properly.

What I love about my job:

I love to see clients’ success! I know that sounds cliched, but how else can you stay excited for over 20 years?

You should go into branding if:

You analyze everything around you, and have a keen sense of observation — those will put you on a higher level than other designers. And you need to truly love and understand people — that will give you an intuitive understanding of how to communicate, whether through written or spoken language. If you naturally know how to sell ideas, then you don’t really need formal training.

Memorable client encounter:

One of our brands made a gluten-free chickpea-based bar called Pure Genius, but they suddenly got a cease-and-desist from a company in England whose product also had the word “genius” in it. I’ve noticed these things usually happen when the design is very attractive — the other company gets jealous.

Our client came up with a new name, Rule Breaker, which I felt was even better. Fortunately, Pure Genius and Rule Breaker have similar letter counts, so it transitioned very well, and they used the renaming as a PR stunt. They were so nervous about how their distributors would react, but the feedback was, “We’re not concerned about the name change — the look is so recognizable and eye-catching, customers will understand it’s still you.” That was gratifying.

If you want to go into this, you should know:

There’s no shortcut! Be highly observant of what you see around you. I can’t go grocery shopping — I walk around the store doing what I call the data scan, and I get kind of lost. We try not to put groceries on our Shabbos table — no grape juice bottles, nothing — since I can’t help but notice packaging.

Old Timer

We’re doing a major rebrand for a 100-plus-year-old company that’s been slowly losing sales to competitors; there’s a lot at stake. The last version of their brand and logo is very different from what we designed. But we brought in some of the older things unique to the brand, like its distinctive color. We made that a top feature in the new brand, out of respect for the heritage and to make sure past customers recognize it.

Event Planner, The Decorative Edge: Faige Tress

Years of Experience  20

Salary Range Anywhere from $50-120 an hour, but rates vary greatly based on location and clientele — and take-home pay is very dependent on your volume of events

What an event planner does:

People think event planning is a glamorous job, but there’s nothing glamorous about it — it’s schlepping and backache and sitting on the floor adjusting tablecloths. An event planner’s work encompasses all sorts of events, from engagement parties and upsherens to Chinese auctions and expos. You name it, I’ve done it.

I’m the one doing the ordering and organizing, working on floor plans, discussing everything with the client, and making a lot of phone calls. Then I’m at the event to set up — I’m very hands-on, and do almost everything on my own.

Hitting the books:

I was always the type who did these things, but what got me to start it as a business was a friend’s vort, where her mother rented tablecloths and asked if we’d set up. When we got there, I was like, “Are you kidding? You spent this much on tablecloths?! Why don’t I do this?” I bought fabrics and a serging machine and became one of Lakewood’s first party planners.

Day in the life:

I meet with my clients to discuss ideas, samples, and budget, but even before we get started, I know what they’re going to say: “I want balabatish but not over the top.”

I wish we could throw that word out, since it means something different to everyone! So, after that speech, I ask if they have a budget. Some people say, “This is my first, I have no idea”; other people have already called the whole world and know exactly what they want to spend. I try to get a sense of what style and what ballpark we’re talking about.

Simple questions can tell me so much. Even a silly thing, like, “Do you want Poland Springs, Voss, or Sole water?” If Poland Springs is offensive to them, I know right away that we’re dealing with a certain playing field. Or if they’re like, “Water? Why can’t we use plain water?” that tells me about their expectations. For some reason, water and paper goods are more telling than the amount they’ll spend on cakes or miniatures.

I’ll also show them tablecloth samples. After I’ve gotten a few yeses or noes, I can tell their style — she’s very monochromatic and doesn’t want to make waves, this one is very colorful, she’s European and would never go funky. I also ask if there’s anything they can’t stand or anything they must have.

I always ask, “What’s more important to you, the look or how much food there is?” Some people want it to look stunning but don’t care as much about the quantity of food; some people don’t care what it looks like but want to ensure their guests are comfortable, whether that means more food or renting more comfortable chairs.

Memorable moment:

I’ve had so many mishaps I could write a book! Sometimes rentals don’t come on time: maybe the table just doesn’t show up. When you finally can start putting out tablecloths, they could be the wrong size or maybe even have a rip. Or the items you ordered to match arrive in the wrong color, or the customer comes in and hates the flowers, or you open the cake boxes and they’ve all slid off the cake boards because it’s so hot, or the chocolate’s melted... What do you do then, besides get an ulcer? You have to improvise.

Before you go into the field, you should know:

You work under pressure and deadlines — especially for Friday events, when I can walk away minutes before Shabbos. And you need to have a thick skin — you’re dealing with very emotional people. It’s tougher than it looks!

Even though most people think it’s all about the setup, you need to be a people person and have an outgoing personality. I’ve become friends with most of my vendors, and the same thing happens with my clients — by the time we finish working together, we have a relationship. I think it’s important that they know I’m there for them, and I want their event to be special.

Why I love my job:

It’s not a kuntz to make a beautiful party with a $20,000 budget, but when the budget is limited and the venue is ugly, and the setup comes out better than expected, that’s what gives me the most satisfaction.

For example, there’s a shul not far from me that has simchah takanos; members need to use their props and tablecloths and can’t use fresh flowers. How many different ways can you use the same thing and make it look different? When I’m able to do that, it’s very satisfying Or at a wedding, if I can help the family keep calm, get the kallah to stop shaking, or placate two screaming sisters, I’m supremely grateful.

Staying Behind the Scenes

While I set up every party I do, I almost never stay for the party itself (unless it’s a very large event and I need to be there). It’s not my simchah, and I don’t want to be accepting the compliments. But if you meet me in the street afterward, feel free to tell me that it was beautiful!

Freelance illustrator: Chani Judowitz

Years of experience  5

Salary Starting at around $40 per hour up to ~$75 per hour

What an illustrator does:

An illustrator can work on anything that involves a drawn picture — books, magazines, ads, or anything that’s kid-related. I do a lot of magazine illustration — like the Kichels! — and some of my favorite projects have been designs for toys or game boards.

Hitting the books:

I’ve always loved to draw but never thought I’d go into it — I didn’t think you could make a real living from it. Also, I was very tough on myself and didn’t think I was good enough to draw professionally — and I wasn’t. But then I was placed on long-term bedrest, and then needed to recuperate after the pregnancy (and take our preemie for therapy). It was an off year, but I’m not the type to sit at home. So I decided: This year I’m going to see if I can get into illustration.

Five weeks after my baby was born, when he was still in the hospital, I started a three-month graphics course. I also did a lot of self-study, taking a variety of online classes and tutorials in the morning for around six months, and a very serious fundamental drawing course once a week at night for three years.

The first year was most crucial, focusing on perspective and light and shade, but the second and third year were important, too — they focused on anatomy. Just one year into the drawing course, I started taking jobs.

That course gave me the foundation of art, which is really, really, really important. There’s so much science and math in drawing — you need to understand perspective, and how it works. We studied surface anatomy, different bones and muscles, and the human skull; we drew the human body at so many different angles.

For any other field, people understand that if you want to become a professional, you need schooling. But art is the one field where people think, “Oh, you’re talented, just wing it.” Drawing is like baking — it’s a science, you can’t just estimate how much baking powder and what proportion of flour to use.

Day in the life:

Emails take up a little too much time, but most of my day is spent doing actual drawing. I often start with research — if I need to draw a horse running, for example, that’s pretty complicated, I need to know how the anatomy of their feet work. I’ll look at pictures online, then use them as a reference to create my own drawings.

I’ll create a very rough sketch to figure out composition, what goes where, and if that’s approved, I’ll do a detailed sketch. Then I draw linework, which is the inking, and finally I do the coloring. I do everything in Photoshop, and I use a tablet flat on my desk to draw — but I look up at my screen, not down at my “pencil and paper.”

Why I love my job:

Drawing professionally is a dream come true. Sometimes, as I’m working, I look up and think, I can’t believe I get to do this for my job.

My favorite thing to do is character design, that’s a lot of fun. I love acting, and creating characters comes from that same place. I know each of the Kichels — they’re real people to me!

You’d make a good illustrator if:

Someone who wants to put a year or two into training (which is still a fraction of the schooling needed for other jobs!) and is ready to work hard. People often ask me how to break into the field, but after I speak with them, they have a million excuses why this or that course won’t work. They may have good reasons but they’re not going to become professional illustrators.

And of course you need to be talented — you can’t come into this without any talent. You also need to get yourself out there. For the first year or two, I was reaching out to people and cold-calling. On a trip to America, I contacted at least ten different companies and showed them my portfolio. Around half of gave me work right away, and at least two ended up being long-term clients.

Before going into this, you should:

Polish your artwork. If you’re semi-good, you’re not going to get jobs. Illustration is expensive, and people will only pay for it if it’s worth it. For someone who’s good, there’s a lot of work available.

What a Character

You can have someone who’s amazing at drawing scenery, but if you’re an illustrator you’re going to be spending most of your time drawing people; there’s not much of a market for hand-drawn trees. But even when it comes to people, women will sometimes show me their work and it’s all very realistic with beautiful gedolim pictures, but if you want to make it as a professional illustrator you need to be able to create characters who look their part. To me, what separates being a professional artist from someone who likes to draw is how good you are at creating your own stories and characters. So much of art is about copying what’s there already, but to illustrate you need to draw your own scenarios.

(Originally featured in Family First, Issue 602)