Lyn Cabiling: Illustrator and Graphic Designer [TCL 01]
The Creative Life (then The Creative Stories) is a mini series where I sit with emerging creatives and seasoned professionals to know and share their stories. They show a side of the creative life that we don’t often see: vulnerability, mistakes made, questions about the way their industries work, and lessons they’ve learned, both the painful and the eureka moments.
Lyn Cabiling works as a freelance illustrator, web and graphic designer.
Describe your journey as an illustrator and creative.
I started drawing when I was in grade school. Actually I was quite naughty that time because I’m always at the back and I’m always drawing stuff. It was just pen and paper, just drawing whatever it is; I draw scenes from everyday life or draw animals.
So I went to multimedia arts, which was my first pick going to Benilde, and one of my professors is a colorist for Marvel and DC. Colorists basically color the comics. He gave us an exercise to color a comic. That was when my love for comics and drawing began: how amazed I was at how artists draw, whether abstract or if there’s a story to it; how they conceptualize things and detail of the drawing.
So I gave my shot on it, and at that time there were pen tablets, but I refused to use it. I would use a mouse. When he saw my work, my professor said, “You really have the potential to draw comics. I see it in you that you’re good, you have good eye with colors.” So I was really flattered, but then at the same time I was like, “Nah, maybe you’re just saying that to every student.”
I thought it’s not going to happen, but it just happened. If I don’t have paper I would draw on my hand. That was how I’d pass the time. If I’m going to wait for a friend, and she’s going to be late for three hours, basta may pen and paper I’ll be entertained. I’d be even happy that he or she was late.
I thought it was just boredom, and then learned to use programs for graphic design and illustration. At that time, I didn’t think of business. I just did it because I love to do it. But right now, since I’ve got bills to pay, I have to get paid.
My style is based off of this artist and painter from San Francisco. I just randomly saw him and I love his art. It’s graffiti style and the colors are complex yet simple in a way.
When you started out, were your family and friends very supportive of you going into multimedia arts, or were you encouraged to pursue something else?
My parents thought I was going to be a 3D artist. I thought as well. But when I started studying 3D, I realized it’s not easy. It’s like Biology.
But I’m pretty sure all parents do this: even if I don’t like my work, they put it in a frame and they find it really, really wonderful. For me, it’s bad. It’s like scratch paper. But they still have it right now. They’ve kept it.
My sister is very, very supportive. At first, my parents thought I’d be working in a corporate setting forever, but I shared my interest in freelancing. I told my sister I want to be a freelancer. She really supported me, even when she saw I had a lot of fail moments, like when the client didn’t like my work or I didn’t get paid. And whenever I felt like a failure, she would say, “Just do what you love. It’s going to take you somewhere.”
Who do you consider as role models or mentors?
I have a friend and he does photography for a living. Although he does photography, they do the same thing. In a photo, it tells a story. Same thing with illustration or a drawing. It tells a deeper story.
With my favorite artist, I was driven by how he became a successful illustrator. He started low; he didn’t think of becoming famous, he just did what he loved. And for me that’s just gonna be a motto for the rest of my life. “What’s the one thing I want to do for the rest of my life if money isn’t involved?”
For me, I just want to draw.
What’s a typical day like for you?
It’s complicated. (laughs) I love to read. Before I go to sleep, I read a book. When I wake up, I read a book or go on YouTube to watch animators at work.
I can’t say it’s beauty, but I see a message in everything. I always think that everything I see or watch is subliminal, that there’s a deeper meaning to it. I find it interesting and hard because there aren’t a lot of people that I can talk to about it. I make things complicated. I draw ideas from that, but I really push people to make them see what I see. If people are not interested in what I see, that’s fine.
Do you encounter people who you feel don’t get where you’re going at? A kind of resistance where you think of the idea of sharing your work with other people?
I always limit myself to just a few people. If we go to a party, I won’t go to a huge group not knowing who to talk to. I would be in a corner with three to four people, and have a real conversation with them. It’s just a matter of prioritizing who I want to be with.
How do you handle feedback and criticism about your work?
I try really, really hard not to overreact. I view criticism as a way for me to learn, but not for me to make enemies of. If you don’t like my work, that’s fine, but I’d like to know why you don’t like it. It’s for me to improve.
There’s gonna be something with what they say that I’m just going to draw out from. For example, what he said about this part was really helpful, so I’m just going to apply that. I try as much as possible not to think of criticism as a negative thing.
Everyone’s entitled to their opinion and that’s their right. If they want to point a finger at you, that’s what they wanna say and that’s okay. For me, it’s how I would respond to it. Just be calm and professional about it.
Do you have a piece of work that’s particularly significant to you? An illustration perhaps that you have a kind of relationship with?
Yeah, I have one. I use it as my logo. It’s a drawing of a squid — I love squids, dead or alive. I think squids have high defense mechanisms, and yet when people see squids they think they’re fragile and all, when in fact they’re not. They’re tough and strong.
You struggle with clients who don’t seem to appreciate your style. What’s your workaround for that?
I would ask for their opinion first. I would ask for what they want to see and I’d try to do multiple versions of what they want, and then I’d insert what I think can work for their stuff. They loved it that I showed them options.
There are also times when a client won’t like anything that I do. I’ve a client right now that’s like that. He doesn’t like anything that I do. I’d ask, “What do you want? What do you want to see? Send me specifics.” The problem is that he doesn’t really know what he wants, so it’s really hard to interpret.
What do you turn to when you need to think of ideas? Do you actively seek out inspiration, or is it already right in front of you?
It depends on the project. If the client’s just explaining to me what they want, I’d imagine it right away while they’re talking. There’ll be times when I’d have to jot them down, I’d search images or go through my designer books, thinking there may be something I can draw out from.
Websites, books, magazines — sometimes rest, because if I stress myself out looking for inspiration, it doesn’t come.
How do you find time to do both client work and creative work?
Prioritizing. I’d prioritize my clients’ requests first, because these pay the bills. When I want to take a break from client work, so I’d just draw or doodle something. Sometimes working on my own pieces is where I’d get ideas for client work. I try as much as possible to set a limit where I’m doing my own stuff by reminding myself to do the client’s work.
What’s your biggest struggle as an illustrator?
Time. I still find it hard to prioritize things. Sometimes I’d go overboard with rest time or finding inspiration. Even tardiness I’m still having a hard time with that. But little by little I would learn things the hard way and make it a lesson for myself that I won’t do it again.
What risks have you taken for your career?
I was supposed to resign last year, but a feeling convinced me not to. And it’s good I didn’t. This year, I really pushed for it.
I freelanced before where I didn’t have work for seventh months, and everything was a step of faith for me.
There are a lot of risks, it’s really scary. Fear plays such a huge role in decision-making, especially in freelancing. But then it doesn’t have to rule me where I’d think I’d never get a client, this client doesn’t pay me, or nobody really likes my work. It just robs you of your hope, of your being optimistic, and you’ll eventually be like that to other people.
You can look at fear in two ways: you look at fear as something that’ll stop you before you can even get there; or fear will be your motivator to face that.
Hmm, yeah.
To get to where you want to be, what investments have you made in order for you to grow as a creative?
I attend conferences, I’d sign up at forums, I’d talk to random people (I’m an extrovert). I’d go to comic conventions and meet a lot of people.
I don’t really limit myself. Whether they’re artists or not, they’d say something I can get ideas from. It can be their life story or what they had for breakfast. Just talking to people gives me ideas.
Do you think it’s essential for you to be a part of a community?
Yeah, it helps. Actually that’s why I signed up for Freelance Camp because I want to meet more freelancers. I have friends who are graphic artists, employed, but they’re too scared to freelance because there’s security in their day jobs. I want to meet people who took that huge step.
I don’t want to be a someday kind of artist. I want to work on it now and start now if I want to freelance. If it fails, I can always start over again.
What are you aspiring for and what steps do you intend to take to get there?
So long-term, freelance. Short-term, have a proper website. I’m still looking for a host and I’m still designing a proper portfolio. This one that I have was just me trying Folio24 for people to see my work.
I think me resigning is the first step, and I’m not sure if I’m going to be freelancing all the way or still gonna get employed part-time or full-time.
I used to blog actually, which is more of an inspiration kind of blog. I’d draw comics and write something inspiring at the bottom or I’d add a Bible verse or an inspiring quote. And there were people who would say, “Oh continue! Continue!” But I stopped because I got really busy.
But I wanna do that again. I want to really inspire people again not because I did risky things, but I also want people to inspire people. You know Zen Pencils? Something like that. I’ve been thinking about when to start, because drawing and creating a story takes a lot of time. This is another one of my short-term goals.
How long on average does it take to do one illustration?
With the research and brainstorming, I think the safest is five days. If it’s a logo, it would take me more because the details speak a lot about the company, and it would take me two weeks.
What advice would you give those starting out?
Just don’t be scared. I’ve read a lot about people who started freelancing and they’re scared of people might not like the work they do or their family doesn’t approve of what they do, or they wouldn’t earn.
There was this comic on Zen Pencils that made me think. “If you were to do one thing that you love for the rest of your life and money isn’t involved, what would it be?”
I know it’s hard to earn these days with all the taxes here in the Philippines, but just don’t live in fear and don’t be afraid to make mistakes. If people call you stupid or a fool for not following or listening to them, don’t swallow your pride but accept it that they correct you and be happy someone actually corrects you. It’s a blessing, whether harshly or nicely.
How do you spend your free time? Anything else besides illustrations?
I play video games. Right now I’m playing Pacman. Call me stupid, but I bought a lot of games on Steam. There was a Steam sale, and there were games on my wish list, so I got them. I haven’t finished it though because of time.
I also have Minecraft and DOTA that I never played. I’ve a friend who plays DOTA2 and she pushed me to get the game. I’m hiding from her on Steam.
Video games are also art for me, so I draw from inspiration from them. It’s like getting ideas but not stressing myself out.
What’s your favorite book?
I’m into graphic novels and comic books. My favorite graphic novel is The Killing Joke. It’s a Batman-Joker graphic novel, and I like how it is. I think you as a writer, I’m pretty sure if you read it, you’ll love it.
I like to complicate things, and it really is complicated. It talks about the Joker, why does he think that way, why is he that weird, and why he’s very hysterical. It talks a lot about him. It’s one of the best graphic novels out there. It’s been reprinted and recolored, and has been around for years. I recommend it to my friends who love to read.
What kind of music do you listen to?
I listen to a lot. Ever since I resigned, I’ve been listening to a lot of Katy Perry. I like the message of her songs.
Where I work, I listen to Aesop Rock, because he’s super friends with my favorite artist, Jeremy Fish.
What is your favorite tool when creating the work you do?
Pens. A pencil and a paper, and that’s enough.
