Adobe’s 99U is a “creative career resource” for professionals. It’s an online catalogue full of articles – of a very broad range of subject matters – covering anything from ethics, sources of inspiration, and merchandising, to business conferences, and criticism. The articles are written by designers, engineers, marketers, artists, and even company owners.
I work a job outside of my interests to pay for my education. At work, there’s never a moment I’m stood still, I’ve no time to talk to other staff, and I’m oblivious to the wold outside of the small building I’m in. I’m a hard worker, and I’m liked, but I don’t want to depend on this job as a sole income. …how does all that tie in to 99U?
Turns out, the 2018 article “Taking a Day Job Doesn’t Have to Crush Your Soul” (written by James Cartwright) has been a very comforting read! It’s a piece with the insight of four freelance illustrators. Within the article, Grace Helmer, Jesse Fillingham, Thomas Slater, and Bobby Breiðholt share their work experiences with readers; they discuss just how they tackle the balancing act of “going freelance” yet remaining financially stable in such a competitive field.
As someone who’s genuinely interested in illustration, and hopes to put their illustrative skills to use more often, this article was very insightful. Reading that it can be expected to take 10 years to establish oneself (in the field of illustration) helps inform my expectations. I recommend this article to others concerned about balancing work and life, and to anyone who fears that the prospect of going freelance may be too difficult.
The four illustrators share with readers glimpses into their lives, and show that it is possible to work as one pleases – in the field that one wants – while keeping one’s head above water. Juggling multiple jobs keeps one’s brain active, and allows for a breather between different responsibilities. A day job may be the primary time spent socialising with every-day people, in person.
The social aspect of his day job keeps it interesting for Slater, who spends the rest of his time working from home with his housemate, illustrator Kyle Platts. Even though he refers to it as a “low-skilled job” that can feel like a compromise. “But it’s a happy compromise,” he says.
The write-up doesn’t gloss over the shortcomings of working freelance yet keeping a day job for support or security. There is a shared agreement among the illustrators that holding onto a day job is a double-edged sword for the artist.
There are drawbacks to dividing the week between two jobs, of course. Slater believes the comfort of regular income has caused him to rest on his laurels and not push himself hard enough to take on more clients; Fillingham has turned down work because his day job encroaches on deadlines; and Helmer admits the work can sometimes be less than stimulating. But for the most part, the pros outweigh the cons.
While I did learn early on not to compare myself to others, because I know that each person faces different trials throughout their life, I still often wonder how other people navigate the world (if they get to make the work that they wish to and yet pay the bills). I’ve worked jobs I’ve disliked or found boring in the past, so it’s good to be reminded by others – freelancers who have found success – have also gone through similar routes, and made similar choices. Patience is the greatest virtue.
DESIGN WORKS 
This is something I’ve wondered about too, it’s comforting but also vexing that it can take up to 10 years to establish yourself but I suppose in those 10 years it’s about finding a voice and maintaining passion for your work.
I know that working a normal job even part time can completely wipe me out after the day, but I guess it’s a compromise I have to be willing to make if I want to avoid burnout creatively? If I work only on illustrations I get very easily burnt out. It’s important to stay active and social too – even if you don’t always like who you’re talking to (probably).
I’m gonna give the links you’ve included a look & read too! Thank you for sharing this ^_^)
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Thank you for your thoughts, Caitlin.
10 years is so long! The things we’re passionate about and want to communicate with others change. I’m doubtful that I could recognise my future self – or their work – if I met them right now. (Also, that’d be a time paradox.)
I think that, interacting with all sorts of people from all different backgrounds has enriched my understanding of people. Doubtlessly, it can be very challenging working with – or for – people from very different backgrounds to oneself. Misunderstandings arise.
I always found it useful to work on several distinctly different pieces at one too – to prevent a sort of obsessive, perfectionist occurrence, and to keep each work looking fresh in my eyes for as long a possible. It helps not to heap too much importance on commissioned work for others, because then a passion truly does become a hollow service. “Too much” being subjective, of course. Gotta take pride in one’s craft, too.
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