Professional Practise - 3
22nd April 2021
An Audience With... Frances Moffatt and Nick Holmes - Notes
Frances
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Frances
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Nick
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Nick
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How do you get opportunities?
Nick: I had to go out there and find everything myself. It really helps. That's how I started - work as hard as you can from the start and get yourself out there
This is a general artist question, but how regularly do you believe we should update our social media? Which one do you find is the best for you when it comes to getting work and engaging with your audience and the community?
Frances: I don't use Twitter, I'm on Instagram, but I only really post or go on it from time to time because I've been focusing on lecturing. I post about every 2 weeks but I don't think too much about it. You have to go beyond Instagram to get work. Likes don't mean anything, you still have to email a client, or ring up; keep making yourself known to people. Students especially often think Instagram is the world and it's not, it's just really an extra place to promote your work, you still have to do the other things
Nick: It's a good thing to have in your pocket if you're active. It's great just for feeding the beast and showing work. I don't use Twitter but I used to, it started to get to my mental health so I dropped it. Facebook was great for interacting with people but now Twitter allows you to do that. Instagram is good if you're actively posting because people can see how often youre making work. People aren't machines who can post all the time and some people do use it as a platform to talk about these issues, but sometimes it's just posts of apologising for no new work - you don't have to apologise for that, life gets in the way sometimes. On the other hand, Twitter is more of a conversational place. Our students have found work through Twitter as part of a bigger part of the picture - not just relying on social media, but rather that you're still making connections on top of that. Just talk to people about what youre excited about!! Dont be too business-minded about things. On Instagram show people what you're proud of and your best work
Frances: If you try to consistently make all this work, you burn out. You have to try to keep that creativity and joy
Nick: You need to also give your work some time to breathe, take some breaks, and also don't post too much because it's exhausting as a consumer to always feel like you're missing something
[Discourse]
Frances: On Etsy the ones that do well have 3 things in common:
1. A very defined market
2. They have a very clear creative voice - they don't do a bit of everything, they are consistent with their brand
3. Having things well packaged, and with little extras like a thank you postcard and a sticker. Branding and attention to detail really sets you apart
Dwayne: It makes you look less naive
Nick: I want a doodle on the envelope. Those little touches let you know you're buying direct from the creator. I want a piece of them in the packaging
Frances, how did your skateboarding opportunity come around since it doesn't look like the typical area for your work?
Frances: It came through someone I used to work with in education. Keep an open mind about seeing your work where you'd expect, but also in other areas. Try mocking up your work on you know, skateboards, and the many other templates. It's going to be less stressful and less anxiety if you already have a feel for seeing your work in a lot of different ways. Clients also think that if they don't see something, you can't do it. But if you can draw, you can really draw anything and do anything so try to show that off. Show that you already have this open mind
Nick: Be aware of the people around you right now as students, classmates or people currently in your network may become future links to commissions. Be on your best behaviour right now. Always be genuine and supportive of those people in your life because you never know what's down the line in the future
What's your experience with contracts with clients for freelance?
Nick: The golden rules are know you're good at, know how you want to present yourself, and know youre worth more than you think you are. The AOI used to be helpful but their new things are actually better, so if you need help with pricing and legalities you can join the AOI. When considering a job consider how long it's going to take and what is a fair price. If you go in higher and knowing your worth, if they want you and you ask them for too much money, they'll just come back at you with another figure (compromise) - "that's too much, but we can offer you this." Just go in high, you'll never be sacked if they really want you. And if they do drop you because of pricing, it means they dont have any respect for what you're doing and what you're offering them, and they were going to give you so little money that it wouldnt have been worth it anyway
Frances: I used to just take anything that I was offered but I definitely wouldn't recommend that. I've been a lecturer, and I like being in such a situation where I can make decisions without needing the financial stability and feeling like I have to take every job I can get. Some jobs you're offered, you really have to ask yourself if doing that work will align with how you want to be seen. Some jobs may damage your brand, and some jobs are just such low pay. Think about much you need to set up your life with living costs and making enough money. I'd rather have the freedom in my career, and I have a 5 year plan, but in this I've kept my costs very low. Having another income lets you be able to say no to these inadequate jobs. Have a part time job, or move back in with your parents to save on rent, if that's what you need to do. Also if you charge too low, it's a race to the bottom - it can damage the industry. There are a lot of books about having a positive mindset about this stuff, how can you set up your life in a way that best enables you to have creative freedom.
Nick: I had to go out there and find everything myself. It really helps. That's how I started - work as hard as you can from the start and get yourself out there
This is a general artist question, but how regularly do you believe we should update our social media? Which one do you find is the best for you when it comes to getting work and engaging with your audience and the community?
Frances: I don't use Twitter, I'm on Instagram, but I only really post or go on it from time to time because I've been focusing on lecturing. I post about every 2 weeks but I don't think too much about it. You have to go beyond Instagram to get work. Likes don't mean anything, you still have to email a client, or ring up; keep making yourself known to people. Students especially often think Instagram is the world and it's not, it's just really an extra place to promote your work, you still have to do the other things
Nick: It's a good thing to have in your pocket if you're active. It's great just for feeding the beast and showing work. I don't use Twitter but I used to, it started to get to my mental health so I dropped it. Facebook was great for interacting with people but now Twitter allows you to do that. Instagram is good if you're actively posting because people can see how often youre making work. People aren't machines who can post all the time and some people do use it as a platform to talk about these issues, but sometimes it's just posts of apologising for no new work - you don't have to apologise for that, life gets in the way sometimes. On the other hand, Twitter is more of a conversational place. Our students have found work through Twitter as part of a bigger part of the picture - not just relying on social media, but rather that you're still making connections on top of that. Just talk to people about what youre excited about!! Dont be too business-minded about things. On Instagram show people what you're proud of and your best work
Frances: If you try to consistently make all this work, you burn out. You have to try to keep that creativity and joy
Nick: You need to also give your work some time to breathe, take some breaks, and also don't post too much because it's exhausting as a consumer to always feel like you're missing something
[Discourse]
Frances: On Etsy the ones that do well have 3 things in common:
1. A very defined market
2. They have a very clear creative voice - they don't do a bit of everything, they are consistent with their brand
3. Having things well packaged, and with little extras like a thank you postcard and a sticker. Branding and attention to detail really sets you apart
Dwayne: It makes you look less naive
Nick: I want a doodle on the envelope. Those little touches let you know you're buying direct from the creator. I want a piece of them in the packaging
Frances, how did your skateboarding opportunity come around since it doesn't look like the typical area for your work?
Frances: It came through someone I used to work with in education. Keep an open mind about seeing your work where you'd expect, but also in other areas. Try mocking up your work on you know, skateboards, and the many other templates. It's going to be less stressful and less anxiety if you already have a feel for seeing your work in a lot of different ways. Clients also think that if they don't see something, you can't do it. But if you can draw, you can really draw anything and do anything so try to show that off. Show that you already have this open mind
Nick: Be aware of the people around you right now as students, classmates or people currently in your network may become future links to commissions. Be on your best behaviour right now. Always be genuine and supportive of those people in your life because you never know what's down the line in the future
What's your experience with contracts with clients for freelance?
Nick: The golden rules are know you're good at, know how you want to present yourself, and know youre worth more than you think you are. The AOI used to be helpful but their new things are actually better, so if you need help with pricing and legalities you can join the AOI. When considering a job consider how long it's going to take and what is a fair price. If you go in higher and knowing your worth, if they want you and you ask them for too much money, they'll just come back at you with another figure (compromise) - "that's too much, but we can offer you this." Just go in high, you'll never be sacked if they really want you. And if they do drop you because of pricing, it means they dont have any respect for what you're doing and what you're offering them, and they were going to give you so little money that it wouldnt have been worth it anyway
Frances: I used to just take anything that I was offered but I definitely wouldn't recommend that. I've been a lecturer, and I like being in such a situation where I can make decisions without needing the financial stability and feeling like I have to take every job I can get. Some jobs you're offered, you really have to ask yourself if doing that work will align with how you want to be seen. Some jobs may damage your brand, and some jobs are just such low pay. Think about much you need to set up your life with living costs and making enough money. I'd rather have the freedom in my career, and I have a 5 year plan, but in this I've kept my costs very low. Having another income lets you be able to say no to these inadequate jobs. Have a part time job, or move back in with your parents to save on rent, if that's what you need to do. Also if you charge too low, it's a race to the bottom - it can damage the industry. There are a lot of books about having a positive mindset about this stuff, how can you set up your life in a way that best enables you to have creative freedom.
22nd April 2021
An Audience With... No.6
Frances | Nick
Questions
For both:
Questions
For both:
- Do you have any tips for being a freelancer?
- How do you price your commissions?
- How do you personally get creative motivation?
- How regularly do you believe we should update our social media? Which one do you find is the best for you when it comes to getting work and engaging with your audience and the community?
15th April 2021
An Audience With... Jill Calder and Sarah Coleman - Notes
Jill
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Jill
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Sarah
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Sarah
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How should we find clients and contacts to go about emailing?
Jill: Use social media, put work up on there and follow illustrators on there that are getting books published and try to see if they tag or mention their director or designer that they worked with, and then you can follow them as well. You can build up your contact list like that.
Sarah: I would second that. Don't wait until after you've graduated to start looking for contacts so you have a network ready when you leave. You already have the beginnings of little relationships you can build on. Also, people LOVE receiving printed, little beautiful things in the post. It doesn't have to be professionally printed.
Jill: Get the name of the art director or designer (do not send it to the publisher), and send that beautiful thing to them and put a note on it - like your website. People DO want to see student work.
Sarah: Don't expect anything back. I was sending things to one person for 8 years before she called me to say there is a job that was right for me. It wasn't that my work was bad, she just had to wait for the right project to come up. If you don't hear back it means that they're looking and they're waiting.
Do you have any do's and don't's for an illustration portfolio that would be attached to emails sent out to potential clients or employers?
Sarah: Hi Danielle - immediate advice is don't attach! Only send a link to one. Attachments can be overlooked, or get emails caught in Spam catchers, or slow people's email down. So I would always advocate sending a link only. Send one if they ask of course! But do it via something like WeTransfer.
Sarah, how did you get started illustrating book covers? And did you find this led to repeat commissions from the same publishers?
Sarah: I got asked to do a book cover while in university, my tutor was also an art director. I did a lot of hand lettering when that wasn't really a thing that was happening, so with that in my portfolio that attracted clients. "Oh look, she can do the illustration as well!" And it just spread out from there. The more you do, the more work you get.
Jill, how did you get into picture books?
Jill: I did some work for Blurrbin Books in Edinburgh, James Hutcheson told me about a project for a children's books. It wasn't my specialist area but he was very persuasive. I didn't have a clue about publishing, I would've promoted it better looking back on it now. Robert the Bruce. I was noticed by other publishers such as Bloomsbury. I joined a society for children's and illustration which is brilliant.
How long do you spend on a book?
Jill: I spent about a year illustrating the Atlas book. Things take ages in publishing and even moreso during Covid. A 48 page picture book was going to be 3 months for roughs and then 3 more months to do the final work.
On your website, you have timelapse videos of your hand lettering. Also, I watched an Adobe Live video of you producing one of your book covers in real time. Did you notice a positive response from people viewing you creating the work?
Sarah: Anything that peels back how the work is made keeps people coming back, and attracts new followers - not that that's the reason to do it. It also prompted conversations with clients because they can see how the work is made. Nothing not positive from sharing how the work is made, people have less anxieties and can see how long something would take and how it is done.
Jill: I share sketchbooks, bits of my studio, a little Boomerang of my work now and then.
I was going to ask on the topic, do you have a tripod that you use to video things overhead?
Sarah: I have a tripod and a couple of gadgets to attach the phone to. Mine is a combination of tripod, home-made, hole in the ceiling, good daylight. But I may invest in something expensive soon...
A question for both ladies when possible - what was the process like for getting agents? Were you contacted/did you reach out? Additionally, how long into your careers did you get an agent?
Sarah: It was 30 years before an agent approached me, I didn't want one at first. I took my work to lots of shows, and in one show in the US, an American representative found me at that show in New York and asked if they wanted a rep for the US? It's a partnership, a constant process, they help you. The British agency I'm with now, they approached me a year after seeing my work with the American one, and I said yes to relieve some of the pressures such as promotion.
Jill: When I left college, I bimbled around for a bit, and then I thought 'I want an agent' to take all the work off me that wasn't illustration. I sent my work off to agents in London, and got a lot of declined and ignored responses. So I tried to build up my own network. A while later, I tried again, and since I'd got better and I was making money on my own, they saw that I was making money and that, to them, makes them think 'we can make money too'. I got one in London. I made the fatal mistake of not keeping up the relationships I'd built because I thought the agent would do everything. An agent is a 2 way street. The more you help them, the more they help you, like a marriage, a long term commitment. That was a lesson I learnt. They dropped me. After that, I wanted an American agent instead. I got one in New York, but my agent died 6 months after signing up. So I was on my own again. I got another American agent later down the line, they approached me. I'm still with them and they're fantastic, I get some brilliant work from them.
Sarah: An agent will have the purposeful skills and objective appraoch to get you more money than you would have ever asked for. That's what they're there for. They take a % of the money, so it's in their interest too. Keep a strong relationship and it will be a great thing for you!
Jill: I actually have 3 agents, one specifically for children's books/literature. We have agreed terms of what kind of work they're getting me, so it works out.
Has life ever got in the way and you've not been able to meet a deadline? I don't mean that to be personal, just curious what the consequences are in the professional world.
Jill: Short answer...YES! The key there is to communicate with your designer/agent/art director and explain the problem and try and work out together. Better than just disappearing and feeling panicked!
Sarah: I 100% backup what Jill says - one of the best bits of advice I ever got was "It doesn't matter how bad the news is as long as the client knows what's going on!" I've stuck to that ever since.
With hindsight, would you seek an agent out sooner?
Sarah: Jenny no I wouldn't, I'd do it the same way! I'd want plenty of experience first. And remember - as soon as you have an agent you're giving away up to 35% of every payment you receive - and in the early days, of course you want to keep as much of your money as possible for yourself! Well I did anyway. 😉 You need to be able to get on with the job done without having your hand held. An agent will take 30-35% of every single fee, so starting up I think it's better to keep that money for yourself.
Jenny (student): Thank you - It sounds like it's better to build yourself up so you can get a really good one later on in your career.
Jill: I would say so!
Sarah: You also don't necessarily have to have one - loads of full time, busy illustrators don't.
Jill: You have to get good at negotiating, learn the business.
Do people expect illustrators without an agent to charge less?
Jill: Have a lower sum in mind that you're happy to work for, go for the higher one, and then try to meet halfway in the middle. It's an old school technique, but it works! But never tell them your minimum! Always start higher!
Sarah: Build your income around what you want your life to be and how you want to live.
I think people expect students to charge next to nothing when it comes to "mates rates"
Sarah: You wouldn't pay the same for a hairdressing intern as you would for the person with 25 years of experience, so in that sense, it's the same for this industry.
Jill: It is really difficult because you just want to get work in your portfolio that someone has commissioned you for. Sometimes the relationship is not equal but I'm always wary of people who want students to work for free for the sake of "exposure."
Sarah: Take every single job on its own merit. There can't be a blanket approach. Look at each one individually, I've done a blog post about this a few years. Is it for a client I love? Is it for a charity? Is it for a tiny business that I want to do well? It's like a flow chart that you follow down to the conclusion of "will I do this"? I don't automatically reject requests for free work.
Jill: You've got to suss out who the client is and who it's for. Is it something you'll enjoy doing? But how much time are you going to spend on it?
Sarah: Sometimes the job I've done for nothing has turned out better than the job I did for a handsome fee because it was so art directed.
The illustrators advised that it can be easier to price without an agent if you are part of a group and you can discuss it. They linked their Facebook group that serves this purpose for illustrators in the uk, the "Illustration Pricing Discussion Group." I have been accepted into it.
Jill: Use social media, put work up on there and follow illustrators on there that are getting books published and try to see if they tag or mention their director or designer that they worked with, and then you can follow them as well. You can build up your contact list like that.
Sarah: I would second that. Don't wait until after you've graduated to start looking for contacts so you have a network ready when you leave. You already have the beginnings of little relationships you can build on. Also, people LOVE receiving printed, little beautiful things in the post. It doesn't have to be professionally printed.
Jill: Get the name of the art director or designer (do not send it to the publisher), and send that beautiful thing to them and put a note on it - like your website. People DO want to see student work.
Sarah: Don't expect anything back. I was sending things to one person for 8 years before she called me to say there is a job that was right for me. It wasn't that my work was bad, she just had to wait for the right project to come up. If you don't hear back it means that they're looking and they're waiting.
Do you have any do's and don't's for an illustration portfolio that would be attached to emails sent out to potential clients or employers?
Sarah: Hi Danielle - immediate advice is don't attach! Only send a link to one. Attachments can be overlooked, or get emails caught in Spam catchers, or slow people's email down. So I would always advocate sending a link only. Send one if they ask of course! But do it via something like WeTransfer.
Sarah, how did you get started illustrating book covers? And did you find this led to repeat commissions from the same publishers?
Sarah: I got asked to do a book cover while in university, my tutor was also an art director. I did a lot of hand lettering when that wasn't really a thing that was happening, so with that in my portfolio that attracted clients. "Oh look, she can do the illustration as well!" And it just spread out from there. The more you do, the more work you get.
Jill, how did you get into picture books?
Jill: I did some work for Blurrbin Books in Edinburgh, James Hutcheson told me about a project for a children's books. It wasn't my specialist area but he was very persuasive. I didn't have a clue about publishing, I would've promoted it better looking back on it now. Robert the Bruce. I was noticed by other publishers such as Bloomsbury. I joined a society for children's and illustration which is brilliant.
How long do you spend on a book?
Jill: I spent about a year illustrating the Atlas book. Things take ages in publishing and even moreso during Covid. A 48 page picture book was going to be 3 months for roughs and then 3 more months to do the final work.
On your website, you have timelapse videos of your hand lettering. Also, I watched an Adobe Live video of you producing one of your book covers in real time. Did you notice a positive response from people viewing you creating the work?
Sarah: Anything that peels back how the work is made keeps people coming back, and attracts new followers - not that that's the reason to do it. It also prompted conversations with clients because they can see how the work is made. Nothing not positive from sharing how the work is made, people have less anxieties and can see how long something would take and how it is done.
Jill: I share sketchbooks, bits of my studio, a little Boomerang of my work now and then.
I was going to ask on the topic, do you have a tripod that you use to video things overhead?
Sarah: I have a tripod and a couple of gadgets to attach the phone to. Mine is a combination of tripod, home-made, hole in the ceiling, good daylight. But I may invest in something expensive soon...
A question for both ladies when possible - what was the process like for getting agents? Were you contacted/did you reach out? Additionally, how long into your careers did you get an agent?
Sarah: It was 30 years before an agent approached me, I didn't want one at first. I took my work to lots of shows, and in one show in the US, an American representative found me at that show in New York and asked if they wanted a rep for the US? It's a partnership, a constant process, they help you. The British agency I'm with now, they approached me a year after seeing my work with the American one, and I said yes to relieve some of the pressures such as promotion.
Jill: When I left college, I bimbled around for a bit, and then I thought 'I want an agent' to take all the work off me that wasn't illustration. I sent my work off to agents in London, and got a lot of declined and ignored responses. So I tried to build up my own network. A while later, I tried again, and since I'd got better and I was making money on my own, they saw that I was making money and that, to them, makes them think 'we can make money too'. I got one in London. I made the fatal mistake of not keeping up the relationships I'd built because I thought the agent would do everything. An agent is a 2 way street. The more you help them, the more they help you, like a marriage, a long term commitment. That was a lesson I learnt. They dropped me. After that, I wanted an American agent instead. I got one in New York, but my agent died 6 months after signing up. So I was on my own again. I got another American agent later down the line, they approached me. I'm still with them and they're fantastic, I get some brilliant work from them.
Sarah: An agent will have the purposeful skills and objective appraoch to get you more money than you would have ever asked for. That's what they're there for. They take a % of the money, so it's in their interest too. Keep a strong relationship and it will be a great thing for you!
Jill: I actually have 3 agents, one specifically for children's books/literature. We have agreed terms of what kind of work they're getting me, so it works out.
Has life ever got in the way and you've not been able to meet a deadline? I don't mean that to be personal, just curious what the consequences are in the professional world.
Jill: Short answer...YES! The key there is to communicate with your designer/agent/art director and explain the problem and try and work out together. Better than just disappearing and feeling panicked!
Sarah: I 100% backup what Jill says - one of the best bits of advice I ever got was "It doesn't matter how bad the news is as long as the client knows what's going on!" I've stuck to that ever since.
With hindsight, would you seek an agent out sooner?
Sarah: Jenny no I wouldn't, I'd do it the same way! I'd want plenty of experience first. And remember - as soon as you have an agent you're giving away up to 35% of every payment you receive - and in the early days, of course you want to keep as much of your money as possible for yourself! Well I did anyway. 😉 You need to be able to get on with the job done without having your hand held. An agent will take 30-35% of every single fee, so starting up I think it's better to keep that money for yourself.
Jenny (student): Thank you - It sounds like it's better to build yourself up so you can get a really good one later on in your career.
Jill: I would say so!
Sarah: You also don't necessarily have to have one - loads of full time, busy illustrators don't.
Jill: You have to get good at negotiating, learn the business.
Do people expect illustrators without an agent to charge less?
Jill: Have a lower sum in mind that you're happy to work for, go for the higher one, and then try to meet halfway in the middle. It's an old school technique, but it works! But never tell them your minimum! Always start higher!
Sarah: Build your income around what you want your life to be and how you want to live.
I think people expect students to charge next to nothing when it comes to "mates rates"
Sarah: You wouldn't pay the same for a hairdressing intern as you would for the person with 25 years of experience, so in that sense, it's the same for this industry.
Jill: It is really difficult because you just want to get work in your portfolio that someone has commissioned you for. Sometimes the relationship is not equal but I'm always wary of people who want students to work for free for the sake of "exposure."
Sarah: Take every single job on its own merit. There can't be a blanket approach. Look at each one individually, I've done a blog post about this a few years. Is it for a client I love? Is it for a charity? Is it for a tiny business that I want to do well? It's like a flow chart that you follow down to the conclusion of "will I do this"? I don't automatically reject requests for free work.
Jill: You've got to suss out who the client is and who it's for. Is it something you'll enjoy doing? But how much time are you going to spend on it?
Sarah: Sometimes the job I've done for nothing has turned out better than the job I did for a handsome fee because it was so art directed.
The illustrators advised that it can be easier to price without an agent if you are part of a group and you can discuss it. They linked their Facebook group that serves this purpose for illustrators in the uk, the "Illustration Pricing Discussion Group." I have been accepted into it.
22nd April 2021
An Audience With... No.5
Jill | Sarah
Questions
For both:
Questions
For both:
- Do you have any do's and don't's for an illustration portfolio that would be attached to emails sent out to potential clients or employers?
- Is it okay that students are often expected to work for a low fee? What's your opinion on this?
- Has life ever got in the way and you've not been able to meet a deadline?
15th April 2021
Industry Professionals to Contact
This is really just a compilation of creators behind the studios researched in Part 1 of the module.
Cartoon Saloon
Tomm Moore - Partner & Creative Director, Storyboarder, Animator, Illustrator, Art Director
Paul Young - Producer & Creative Director
Nora Twomey - Partner & Creative Director
Karrot Animation
Jamie Badminton - Founder and Creative Director
Tom Jordan - Studio Director
Tim O'Sullivan - Head of Development
Arcus Animation
James Taylor - Creative Director
Blue Zoo
Sara-Laila Francis - Talent Acquisition Lead Team
Lauren Barnes - Senior Talent Resourcer
I include Blue Zoo here, but this is a studio growing so fast that the better way to get involved is through their internship opportunities every autumn and winter, although there is a lot of competition for places on these. The same goes for Cartoon Network (see part 1).
Cartoon Saloon
Tomm Moore - Partner & Creative Director, Storyboarder, Animator, Illustrator, Art Director
Paul Young - Producer & Creative Director
Nora Twomey - Partner & Creative Director
Karrot Animation
Jamie Badminton - Founder and Creative Director
Tom Jordan - Studio Director
Tim O'Sullivan - Head of Development
Arcus Animation
James Taylor - Creative Director
Blue Zoo
Sara-Laila Francis - Talent Acquisition Lead Team
Lauren Barnes - Senior Talent Resourcer
I include Blue Zoo here, but this is a studio growing so fast that the better way to get involved is through their internship opportunities every autumn and winter, although there is a lot of competition for places on these. The same goes for Cartoon Network (see part 1).
14th April 2021
3.1 Digital Communication and Networking
Introductory Email
- Not the same as a standard cover letter, but a related concept
- An email template that can be sent out to people in order to get work or placements
Email writing resources for reference:
CV
- No more than 2 sides of an A4 piece of paper! Keep it compact.
- Everyone's CVs are different and that's how it is supposed to be, so don't compare too much
- It should be clear, straightforward and display strong typography. The only real creative decision is a wise font selection and maybe a subtle surprising way of handling the content
- Be aware of the tone of language used
- Show an honest willingness to learn, and be humble (not braggy)
- Use headings and bullet points to break up large sections of text (a CV is only looked at for 5-7 seconds)
- Tailor your experience for each application (only share relevant experiences and skills for the role)
- Be accurate and truthful
- Double check for grammar, spelling mistakes, typos and punctuation errors
- Format, tone of voice, and typography should all connect to who you are as a creative
- Ensure that the email address that you use is professional
- Not too long, too detailed, or over-designed
- Number the pages (1/2, 2/2)
- File name: ‘JoannaDoe_GraphicDesigner_CV_2021.pdf’
Sections:
Articles for CV advice:
Examples of CVs for the creative industry (not 'creative CVs'):
- Not the same as a standard cover letter, but a related concept
- An email template that can be sent out to people in order to get work or placements
Email writing resources for reference:
CV
- No more than 2 sides of an A4 piece of paper! Keep it compact.
- Everyone's CVs are different and that's how it is supposed to be, so don't compare too much
- It should be clear, straightforward and display strong typography. The only real creative decision is a wise font selection and maybe a subtle surprising way of handling the content
- Be aware of the tone of language used
- Show an honest willingness to learn, and be humble (not braggy)
- Use headings and bullet points to break up large sections of text (a CV is only looked at for 5-7 seconds)
- Tailor your experience for each application (only share relevant experiences and skills for the role)
- Be accurate and truthful
- Double check for grammar, spelling mistakes, typos and punctuation errors
- Format, tone of voice, and typography should all connect to who you are as a creative
- Ensure that the email address that you use is professional
- Not too long, too detailed, or over-designed
- Number the pages (1/2, 2/2)
- File name: ‘JoannaDoe_GraphicDesigner_CV_2021.pdf’
Sections:
- Information - Your full name and pronouns, your address, links to your website, portfolio, or social media, your email address/contact details
- About Me - Who you are, what you do, the types of projects or clients you’ve worked with
- Experience - Most recent first, and just the most relevant examples. "Junior Designer, Design Studio (2019-2020)" followed by a brief description of the job role and/or highest achievements you made within it. If no industry experience, note relevant skills from other jobs
- Education - Most recent qualifications first.
"MA Subject you studied, Name of University (2015-2018)
BA (Hons) Subject you studied, Name of University (2015-2018)
Name of short course, Name of organisation (2018)"
College/GCSE grades being featured depend on how relevant they are. Written as “10 GCSEs, A-C including Art; 4 A-Levels, A-C, including Graphic Design and Art" - Other achievements - Exhibitions participated in, work published, awards earnt, press features. List them
- References - Best to write "references available on request"
Articles for CV advice:
- https://www.itsnicethat.com/features/the-graduates-2018-2018-cv-advice-210618
- https://www.creativelivesinprogress.com/article/a-guide-to-creating-a-great-cv
Examples of CVs for the creative industry (not 'creative CVs'):
PDF Portfolio
- Around 12 pages. More than 10 but less than 15. 20 might be a stretch. For a full portfolio, a maximum of 40 pages?
- Cover page with artist name and an image that draws attention in
- Short contact details on the last page (@Airusani/airusani.com) or briefly on the first page too.
- Less than 10MB (Campion's is only 1.57MB, Weebly maximum upload is 10MB)
- File name should contain artist name, and noting 'portfolio' helps too
- Small clean annotations of project names (/with client and year)
- Number the pages
Examples of illustration/sequential PDF portfolios:
- Around 12 pages. More than 10 but less than 15. 20 might be a stretch. For a full portfolio, a maximum of 40 pages?
- Cover page with artist name and an image that draws attention in
- Short contact details on the last page (@Airusani/airusani.com) or briefly on the first page too.
- Less than 10MB (Campion's is only 1.57MB, Weebly maximum upload is 10MB)
- File name should contain artist name, and noting 'portfolio' helps too
- Small clean annotations of project names (/with client and year)
- Number the pages
Examples of illustration/sequential PDF portfolios:
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Despite Hesse's portfolio having 41 pages and it would indefinitely need to be shorter for a mailer, it is my favourite of the bunch for the way it uses the space on the pages but still looks clean. It is a body of work that fits together but also shows variation. Her portfolio also includes some images of development work which help to tell a story and demonstrates the way she works. Scholz's portfolio is also very neat and sophisticated with just the right amount of colour and information for it to be interesting but not overwhelming.
'About' Webpage
- Artist self-portrait or photograph (although, I believe the university advised us not to do this)
- Written in third person (Airusani is an illustrator from the UK, she specialises in... etc.) - Use first person for social media bios & CV
- Main fields of interest and skills
- Brief mention of art-relevant education
- Unique selling point as an artist (USP)
- Short list of most noteable clients
- Brief lists of any awards won, and exhibitions/talks/workshops done
- Icon links to social media/email address for business enquiries/hello
- 75-150 words. Short and sweet, professional, humble
- It isn't something I'm seeing while researching, but very often websites are said to be at risk of being outdated because you don't know when it was last updated (making social media the preferable browsing platform), so I personally write a 'last updated' date on the About page.
- Also personal to me, I'll choose to keep the note about the Pokihan alias change until that era's work isn't recent and therefore relevant on my website anymore.
1. Who are you? What are you interested in?
2. Personal branding - your work, your personality, your experience, your interests, your network. How do you want to be seen? What kinds of people or clients do you want to attract and what do you want to be known for?
3. Social media
4. Writing about yourself. Information about you and your work, your achievements, recent clients, employers or experience, your interests and (if relevant) your availability. You might also want to consider including contact information, as well as links to a website, social media or blogs, and in some cases, a headshot. Establish your tone of voice.
“Your CV, About Page, cover letter or social media profile don’t have to get you work. They just have to grab someone’s attention enough that they want to talk to you.” - Creative Lives in Progress
Advice for writing an 'about' page:
Examples of illustrator/animator 'about' webpages:
Link to my about page and CV. It is also on the menu to the left for easy access.
Website Portfolio Design
- Clean layouts but organised to give a bold impression
- Easy to navigate
- I prefer the websites that show a lot of work in a grid format akin to the way Instagram does. You can see more of the artist's work in a short amount of time
- Images uploaded should be no more than 72dpi unless this significantly weakens the quality of the illustration
- Images uploaded should always have the artist name in the file name
Advice:
https://www.creativelivesinprogress.com/article/work-ready-portfolio-website
Good examples:
- Artist self-portrait or photograph (although, I believe the university advised us not to do this)
- Written in third person (Airusani is an illustrator from the UK, she specialises in... etc.) - Use first person for social media bios & CV
- Main fields of interest and skills
- Brief mention of art-relevant education
- Unique selling point as an artist (USP)
- Short list of most noteable clients
- Brief lists of any awards won, and exhibitions/talks/workshops done
- Icon links to social media/email address for business enquiries/hello
- 75-150 words. Short and sweet, professional, humble
- It isn't something I'm seeing while researching, but very often websites are said to be at risk of being outdated because you don't know when it was last updated (making social media the preferable browsing platform), so I personally write a 'last updated' date on the About page.
- Also personal to me, I'll choose to keep the note about the Pokihan alias change until that era's work isn't recent and therefore relevant on my website anymore.
1. Who are you? What are you interested in?
2. Personal branding - your work, your personality, your experience, your interests, your network. How do you want to be seen? What kinds of people or clients do you want to attract and what do you want to be known for?
3. Social media
4. Writing about yourself. Information about you and your work, your achievements, recent clients, employers or experience, your interests and (if relevant) your availability. You might also want to consider including contact information, as well as links to a website, social media or blogs, and in some cases, a headshot. Establish your tone of voice.
“Your CV, About Page, cover letter or social media profile don’t have to get you work. They just have to grab someone’s attention enough that they want to talk to you.” - Creative Lives in Progress
Advice for writing an 'about' page:
Examples of illustrator/animator 'about' webpages:
- http://joyang.ca/about-me/
- https://www.hellohannahjacobs.com/about
- https://www.yukaidu.com/about
- https://www.rafaelvarona.com/about
- https://www.yandanwong.com/about
- https://www.inbalochyon.com/about
Link to my about page and CV. It is also on the menu to the left for easy access.
Website Portfolio Design
- Clean layouts but organised to give a bold impression
- Easy to navigate
- I prefer the websites that show a lot of work in a grid format akin to the way Instagram does. You can see more of the artist's work in a short amount of time
- Images uploaded should be no more than 72dpi unless this significantly weakens the quality of the illustration
- Images uploaded should always have the artist name in the file name
Advice:
https://www.creativelivesinprogress.com/article/work-ready-portfolio-website
Good examples:
14th April 2021
Professor David Gibson Lecture: Setting Up a Business - Notes
- Happy to assess your business if contacted through the university.
- Encourages doing business around the world as well as just local.
- If you learn, you can meet the needs. Don't be limited to your own place.
- NCCE and NACUE support students setting up businesses and give advice.
- What you must do is just ask somebody to help. I can help you start a business. Never be afraid to ask for help!
- You have to be really serious about what you're charging and your terms of business.
- Cumbria has potential funding (grant money) but you've got to use it carefully. The government also gives out small business loans, but of course free money is the better option.
- Keep it simple and build it up. And always put some money aside because you can have a boom in work and then a dry spot, you have to be prepared for that.
- Look at LinkedIn and social media - what are you going to use for your business? I focus on Facebook but LinkedIn is the best for me. You can also network through the university - ask me who I know. Reach out and beyond.
There are key things to keep in mind to be a creative entrepreneur:
- Be creative in your work. Can you come up with a new idea - a new way of doing things? Also apply your creativity to ways to market, communicate and ways to work with money.
- Be able to relax, chilled out, and calm. If things go wrong, you need to be able to handle it. Learn from other peoples mistakes but can you learn to not get too anxious? You'll have good times and bad times. Work on this ability to relax and look after your mental health.
- Ask for help. Get people aware of you and your work, and you need to ask for people to recommend you.
- You need to be able to understand money. What things cost, business isn't all about getting money, it's about doing what you love. But you need to make enough money to live on to keep your business going. You can do well with the right business if you are smart about your business.
- Learn to be able to persuade people. Both on social media, and face to face. People will be impressed by your enthusiasm.
- Get some funding.
- Research the market.
- Make a plan.
- Be good at what you do, and love what you do.
"You can email me for a copy of my book for starting a creative business, and please contact me with any questions."
david.gibson@cumbria.ac.uk
25th March 2021
An Audience With... Aimee Stewart & Sarah Habershon - Notes
They both love their jobs and are 'living something of their dreams.'
Aimee studied illustration for half of her degree before becoming a graphic designer.
What are the main things you have to consider when designing a children's book?
Aimee: Make sure you're looking in the right places for illustrators that can appeal to the commercial side of things and the audience. Books go into supermarkets, book stores (Waterstones, WHSmith), and Amazon and they're very different platforms, so we have to make sure we get the right pull for those. The biggest challenge is getting someone that can fulfill all 4 at once. Branding is a big part of it. Getting the right title and you have to be able to make it out distinctively whether big or small. It's really dependant on the market and getting the right commercial illustrator for the job.
Sarah: What are you looking for when choosing illustrators? How does that affect your choices?
Aimee: Supermarkets have to be super commercial and theres only so many slots that get put on the shelves.
Sarah: What do you mean by "commercial"?
Aimee: Bright poppy colours, quite graphic, does what it says on the tin. You can see it straight away, its graphic, its bold. If we went for a posher type, we'd go for stylistic character and watercolours. Commercial is cartoony with those big poppy eyes, and posh is teal colours, very stylistic.
Aimee: Things can be posh and commercial at the same time if they're to be sold on all platforms.
This was a very graphic design answer to an illustration-intended question, but still helpful.
Aimee: We work 2-3 months on a book but from start to finish (being published) it's about 6-8 months. We commission everything in-house.
Sarah: Do we have a set amount of books you publish each year?
Aimee: We have a budget in that we have to get our profit to a certain amount. We also share books with our international counterparts so that's factored in.
How do you find illustrators - do they contact you themselves, or is through agencies?
Sarah: It could be any way, that's what I realised. Because I've been looking for a long time, you become familiar with agencies. Every time you're looking for someone for a job you toll through a lot of stuff so it keeps coming around. I get emailed by people, and sometimes those sit for a while because I'm very busy. I rarely open them straight away. I actually really love Instagram, it's really useful. Seeing stuff on that and noticing people who've liked things... It's made me see a lot more, and I find it easy to check up on artists to have a quick look at what they've been doing recently - you can see if it's up to date, if they're around, if their style has moved on, all of those things and with such efficiency. You never know how updated a website is. [This is exactly why I write a "last updated xx/xx/xx" on the About page.] I'm signed up with LinkedIn but I don't use it much. Sometimes it will alert me to people's names though, when I accept connections - and that could make me click on them on Instagram. I see things in publications, look for them on Instagram and then end up finding other people through it. People used to send things in the post but we're not in the office anymore, but that was always a nice thing. Sometimes I'd just have a postcard on my desk, just sitting there for a long time. It's a good way to be remembered by something pleasant. I also search on Instagram through a hashtag. If you get yourself out there and use useful hashtags it can lead people to your work.
How do we make ourselves known to people in your positions?
Sarah: You need someone to actually find your website for it to be effective... so Instagram is better. I don't always get around to emails but sometimes I do, and I get around to it a year later because maybe they're just the right person for the job. Seeing people's names in my inbox with the subject 'illustration' or what they are is useful, or connecting on LinkedIn, it makes them known to me. Or if people follow me on Instagram - that's an opportunity to quickly click on somebody and see who they are.
Dwayne: So they link up and become on your radar?
Sarah: Yes, I think that's true
Aimee: I know my team are using Instagram a lot more now to look for agencies and illustrators. I get a lot of emails with PDF portfolios but I'm often too busy to reply. But if someone sends me a PDF portfolio, I save it, so if I have a job I can refer back to it. And the names start to link (as Sarah said).
Dwayne: There's not one right answer, but using all the platforms well.
Sarah: Instagram is great for everyone and you get more familiar and knowledgeable about what's out there.
Are you drawn more towards digital illustrators than analogue? Because sometimes changes get made last minute.
Aimee: We do have a lot of traditional illustrators but sometimes there are problems with changes. It doesnt put us off using those people though. You just have to be prepared to make the changes that we need and children's books have a longer turnover time - about a year, so it can work. You send the artwork scanned in at high resolution, and sometimes they send it back for changes to be made. But yes, for children's publishing we definitely still have a lot of traditional illustrators.
Are you restricted with analogue illustrators, Sarah?
Sarah: It's a quicker turn around for us, but I do still like drawn things. If I like someone's work and feel they're sympathetic for the subject I would contact them and ask them from the start if they can do it in this time and make these corrections if needed. Digital artists are likely more advanced with editing skills for flexibility with corrections.
Dwayne: Whenever you're making something, you need to be able to un-make it - such as using layers. We teach that on the course.
Aimee, how did you find/get work after graduating? How did you end up joining Scholastic?
Aimee: They found me at D&D Newblood in 3rd year. I had my physical portfolio on display there and Scholastic asked me to apply for a job vacancy they had open. We go to all the illustration and design shows and look for people at those so it's a good thing to go to (New Blood and New Designers).
Is there anything that may put you off hiring an illustrator?
Sarah: Terrible work... But really, I wouldn't know until I've worked with them, if I liked the experience I'd work with them again. People that have got an attitude or are being arsey about doing corrections put me off. I ask the editor for their opinions when hiring an illustrator, and the client has to be able to adapt politely and well to making changes or fitting the tone.
Dwayne: Being a pleasant human being goes a long way.
Aimee: You develop relationships with illustrators on a personal level after all of those back and forths. It's nice to talk and work together - we're all humans at the end of the day. Sometimes we even stay friends.
Do you tend to offer a price to illustrators when hiring them, or do you ask them what they usually charge?
Aimee: We have set prices but we do negociate. It's often with the agents so it's finding the balance. But with our projects it's a set price for a cover illustration (front/back/cover) and set prices for the middle pages depending on the size of the illustration.
Sarah: We have set prices for the illustrations too. It's more fair that way, everyone is equal.
Aimee, you made the jump from illustration to graphic design?
Aimee: Graphic design and illustration fit together like a puzzle. You can't have one without the other. Illustrators have to have the graphic design knowledge (compositions, layouts, knowing how to use the space) so there are transferable skills in both.
How important are print portfolios and websites now?
Aimee: Digital portfolio is more important currently. It depends on the situation though and where you're at, but in terms of reaching people, it's digital. Although, in the office we kept everything that was mailed to us and even at interviews now we'd ask people to bring in print portfolios. We appreciate the physical side of things but overall I'd say digital is more important.
Sarah: I'm surprised that you said print still counts but it's nice to hear, but I'd have guessed that people aren't showing printed portfolios anymore.
What is the illustation turnover?
Sarah: 3-4 days is a standard time to do the whole design process for us. 4 days is a good amount of time to have to do an illustration.
Dwayne: 4 days is a luxury!
Are you looking for a particular thing that's been illustrated or a style in particular when hiring an illustrator?
Sarah: I have a lot of bookmarks and folders that I put people that I'd like to use one day in. I even have a handwritten file just for G2 things that seem recurring at the moment. I jott names down and organise people into electronic folders such as "stylised people," "environmental issues," "women's issues," or "bold illustration."
Sometimes I get a piece and I have to find someone really quickly, so I navigate to the folder that would have someone suitable for the job. Some people are in more than one folder because there are crossovers if I like their work that much.
Does that relate to the hashtags?
Aimee: Put as many as you can! I search for clients through hashtags.
Sarah: Yes the folders are similar to the tags that I would look for.
Sarah: For contextual purposes on posts, also show how you think about things and how you tackle a subject. A short sentence like "this piece is about..." or "this is a piece for..." are helpful. But keep it short and sweet.
Aimee studied illustration for half of her degree before becoming a graphic designer.
What are the main things you have to consider when designing a children's book?
Aimee: Make sure you're looking in the right places for illustrators that can appeal to the commercial side of things and the audience. Books go into supermarkets, book stores (Waterstones, WHSmith), and Amazon and they're very different platforms, so we have to make sure we get the right pull for those. The biggest challenge is getting someone that can fulfill all 4 at once. Branding is a big part of it. Getting the right title and you have to be able to make it out distinctively whether big or small. It's really dependant on the market and getting the right commercial illustrator for the job.
Sarah: What are you looking for when choosing illustrators? How does that affect your choices?
Aimee: Supermarkets have to be super commercial and theres only so many slots that get put on the shelves.
Sarah: What do you mean by "commercial"?
Aimee: Bright poppy colours, quite graphic, does what it says on the tin. You can see it straight away, its graphic, its bold. If we went for a posher type, we'd go for stylistic character and watercolours. Commercial is cartoony with those big poppy eyes, and posh is teal colours, very stylistic.
Aimee: Things can be posh and commercial at the same time if they're to be sold on all platforms.
This was a very graphic design answer to an illustration-intended question, but still helpful.
Aimee: We work 2-3 months on a book but from start to finish (being published) it's about 6-8 months. We commission everything in-house.
Sarah: Do we have a set amount of books you publish each year?
Aimee: We have a budget in that we have to get our profit to a certain amount. We also share books with our international counterparts so that's factored in.
How do you find illustrators - do they contact you themselves, or is through agencies?
Sarah: It could be any way, that's what I realised. Because I've been looking for a long time, you become familiar with agencies. Every time you're looking for someone for a job you toll through a lot of stuff so it keeps coming around. I get emailed by people, and sometimes those sit for a while because I'm very busy. I rarely open them straight away. I actually really love Instagram, it's really useful. Seeing stuff on that and noticing people who've liked things... It's made me see a lot more, and I find it easy to check up on artists to have a quick look at what they've been doing recently - you can see if it's up to date, if they're around, if their style has moved on, all of those things and with such efficiency. You never know how updated a website is. [This is exactly why I write a "last updated xx/xx/xx" on the About page.] I'm signed up with LinkedIn but I don't use it much. Sometimes it will alert me to people's names though, when I accept connections - and that could make me click on them on Instagram. I see things in publications, look for them on Instagram and then end up finding other people through it. People used to send things in the post but we're not in the office anymore, but that was always a nice thing. Sometimes I'd just have a postcard on my desk, just sitting there for a long time. It's a good way to be remembered by something pleasant. I also search on Instagram through a hashtag. If you get yourself out there and use useful hashtags it can lead people to your work.
How do we make ourselves known to people in your positions?
Sarah: You need someone to actually find your website for it to be effective... so Instagram is better. I don't always get around to emails but sometimes I do, and I get around to it a year later because maybe they're just the right person for the job. Seeing people's names in my inbox with the subject 'illustration' or what they are is useful, or connecting on LinkedIn, it makes them known to me. Or if people follow me on Instagram - that's an opportunity to quickly click on somebody and see who they are.
Dwayne: So they link up and become on your radar?
Sarah: Yes, I think that's true
Aimee: I know my team are using Instagram a lot more now to look for agencies and illustrators. I get a lot of emails with PDF portfolios but I'm often too busy to reply. But if someone sends me a PDF portfolio, I save it, so if I have a job I can refer back to it. And the names start to link (as Sarah said).
Dwayne: There's not one right answer, but using all the platforms well.
Sarah: Instagram is great for everyone and you get more familiar and knowledgeable about what's out there.
Are you drawn more towards digital illustrators than analogue? Because sometimes changes get made last minute.
Aimee: We do have a lot of traditional illustrators but sometimes there are problems with changes. It doesnt put us off using those people though. You just have to be prepared to make the changes that we need and children's books have a longer turnover time - about a year, so it can work. You send the artwork scanned in at high resolution, and sometimes they send it back for changes to be made. But yes, for children's publishing we definitely still have a lot of traditional illustrators.
Are you restricted with analogue illustrators, Sarah?
Sarah: It's a quicker turn around for us, but I do still like drawn things. If I like someone's work and feel they're sympathetic for the subject I would contact them and ask them from the start if they can do it in this time and make these corrections if needed. Digital artists are likely more advanced with editing skills for flexibility with corrections.
Dwayne: Whenever you're making something, you need to be able to un-make it - such as using layers. We teach that on the course.
Aimee, how did you find/get work after graduating? How did you end up joining Scholastic?
Aimee: They found me at D&D Newblood in 3rd year. I had my physical portfolio on display there and Scholastic asked me to apply for a job vacancy they had open. We go to all the illustration and design shows and look for people at those so it's a good thing to go to (New Blood and New Designers).
Is there anything that may put you off hiring an illustrator?
Sarah: Terrible work... But really, I wouldn't know until I've worked with them, if I liked the experience I'd work with them again. People that have got an attitude or are being arsey about doing corrections put me off. I ask the editor for their opinions when hiring an illustrator, and the client has to be able to adapt politely and well to making changes or fitting the tone.
Dwayne: Being a pleasant human being goes a long way.
Aimee: You develop relationships with illustrators on a personal level after all of those back and forths. It's nice to talk and work together - we're all humans at the end of the day. Sometimes we even stay friends.
Do you tend to offer a price to illustrators when hiring them, or do you ask them what they usually charge?
Aimee: We have set prices but we do negociate. It's often with the agents so it's finding the balance. But with our projects it's a set price for a cover illustration (front/back/cover) and set prices for the middle pages depending on the size of the illustration.
Sarah: We have set prices for the illustrations too. It's more fair that way, everyone is equal.
Aimee, you made the jump from illustration to graphic design?
Aimee: Graphic design and illustration fit together like a puzzle. You can't have one without the other. Illustrators have to have the graphic design knowledge (compositions, layouts, knowing how to use the space) so there are transferable skills in both.
How important are print portfolios and websites now?
Aimee: Digital portfolio is more important currently. It depends on the situation though and where you're at, but in terms of reaching people, it's digital. Although, in the office we kept everything that was mailed to us and even at interviews now we'd ask people to bring in print portfolios. We appreciate the physical side of things but overall I'd say digital is more important.
Sarah: I'm surprised that you said print still counts but it's nice to hear, but I'd have guessed that people aren't showing printed portfolios anymore.
What is the illustation turnover?
Sarah: 3-4 days is a standard time to do the whole design process for us. 4 days is a good amount of time to have to do an illustration.
Dwayne: 4 days is a luxury!
Are you looking for a particular thing that's been illustrated or a style in particular when hiring an illustrator?
Sarah: I have a lot of bookmarks and folders that I put people that I'd like to use one day in. I even have a handwritten file just for G2 things that seem recurring at the moment. I jott names down and organise people into electronic folders such as "stylised people," "environmental issues," "women's issues," or "bold illustration."
Sometimes I get a piece and I have to find someone really quickly, so I navigate to the folder that would have someone suitable for the job. Some people are in more than one folder because there are crossovers if I like their work that much.
Does that relate to the hashtags?
Aimee: Put as many as you can! I search for clients through hashtags.
Sarah: Yes the folders are similar to the tags that I would look for.
Sarah: For contextual purposes on posts, also show how you think about things and how you tackle a subject. A short sentence like "this piece is about..." or "this is a piece for..." are helpful. But keep it short and sweet.
25th March 2021
An Audience With... No.4
Aimee Stewart - Senior designer at Scholastic Books
Graduate of UOC graphic design.
Works in London, in children's publishing. Bizzarely, I can't find her design portfolio online.
Twitter | LinkedIn
Q: What are the most important things to consider when designing children's books?
Q: Why did you make the switch from illustration to graphics?
Sarah Habershon - Art director at The Guardian
Advocate and supporter of illustration.
Designs and art directs pages for The Guardian (this is featured on her Instagram).
Twitter | Instagram
Q: Any tips for a well designed portfolio?
Q: Do you tend to offer a price to illustrators when hiring them, or do you ask them what they usually charge?
Graduate of UOC graphic design.
Works in London, in children's publishing. Bizzarely, I can't find her design portfolio online.
Twitter | LinkedIn
Q: What are the most important things to consider when designing children's books?
Q: Why did you make the switch from illustration to graphics?
Sarah Habershon - Art director at The Guardian
Advocate and supporter of illustration.
Designs and art directs pages for The Guardian (this is featured on her Instagram).
Twitter | Instagram
Q: Any tips for a well designed portfolio?
Q: Do you tend to offer a price to illustrators when hiring them, or do you ask them what they usually charge?
18th March 2021
An Audience With... Rachel Tunstall and Hazel Mason - Notes
Rachel
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Rachel
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Hazel
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Hazel
|
Rachel spent a lot of time bulking up her editorial profile doing mock up illustrations because she didn't feel like her art was ready to put out there as soon as she graduated.
Hazel recommends keeping social media updated as she has had lots of commissions through just posting on there. No "magic" hashtags.
How do you feel about mailers and reaching out?
Rachel: I sent things out to people but nothing ever came from it. I send out emails now instead like every 3 months saying "hey I have some new work in my portfolio now if you'd like to have a look.
Dwayne: Do you have a mailing spreadsheet?
Rachel: Someone sent me a list of contacts list and I used it as a template to file which contacts have been emailed, which ones are interested in working with me etc.
Hazel: I never really sent out many packs. I send a few low res images (4 or 5 most recent work) so they can immediately see what I'm like so they can click my link or disregard me. You need to find the person to send it to, like to an art director not just a vague company. Make sure you know who should be receiveing it.
How do you make a speculative work brief? What is speculative work and what is personal work?
Rachel: I used the Apple news app, took an article that I thought "this needs an illustration" and did the work for it.
Hazel: Picking a book that I really enjoy that doesn't have illustrations and creating a body of work for it.
(Taking the thing they want to get work in, and making work for it that didn't exist before.)
How do you go about running a store?
Hazel: I bought a really good printer and now I can sell the mass of products that I do (postcards and prints). You can get other people to make them for you of course, maybe a printer is something that would happen later down the line.
Packaging and shipping products?
Hazel: Ludia bulk bought the products she would need to ship things out. Do it in a conveyor belt system. Sticky labels, delivery addresses all laid out ready.
Is there any difference with international clients?
Hazel: I reach out to international ones more because they pay better, to be honest. But there's not much difference really. American websites tend to show the art director and British ones are more secretive. I send out 4 low res images and a link to my portfolio. My name's _ I'm from _ I specialise in _ [Show a little bit of interest in the company, tell them what you want] Thanks, _.
Tony: The first job is the hardest. People look at your portfolio to see which clients you've worked with, so it's building that up.
What's freelance like?
Rachel: I work in retail.
Hazel: I work in a niche shop in York. It fits in quite easily doing a part time job if it's not something you have to take home. (It's the Christmas shop)
Rachel: I use Procreate for everything. I even sketch on there.
Jim: Would you send off sketches from your iPad to the clients?
Rachel: Yes. Straight forward linework as simple as possible. I send about 3 ro 4 sketches depending on the client and the deadline. The clients use Trello but otherwise just email.
Hazel: Don't spend hours on it for the sketches to just say "oh I don't like that."
Is there any etquette when presenting to a clients?
Hazel: It depends on the client. You can have friendliness after a couple years but for new clients have that level of politeness and detached respect until you know if they like your work or want to work with you.
Dwayne: You figure it out, there's not an answer, you figure out your approach.
The design process we teach the students is research -> lots and lots of thumbnails -> development sketches/composition and colours -> final thing. At what point do you send clients the sketches?
Both: Linework/composition and colours.
Rachel: Most people show give you a deadline.
Dwayne: You will get a sense for a no-turning back moment in the process when thinking about when to check in with the client.
How do you price a job?
Rachel: I don't get the option to price often, in editorial they have a set budget in mind. (We'll pay you this, do you want to do it or not)
Hazel: Minimum wage + £10, as a base. You've got to price appropriately depending on the client, indie client v a huge company.
Dwayne: No is a powerful word. Rememeber that you can say no.
Have you thought about illustration agencies?
Rachel: I am kind of being represented but it's not full on... I don't really understand it. I signed a contract and nothing's come out of it and that was over a year ago. I'm still looking.
Hazel: I am looking but not looking hard. I'm doing okay as things are right now. Trying to get an agency straight out of university will go badly. You'll get put in a group of 200 people that are really bad because they're the only ones who will take you with the current work.
Tony: They also get a % of your wages.
Dwayne: Are you both members of the AOI?
Both: Yep
Rachel: Before they stopped helping you price estimates, that was really helpful in weeding out bad clients. But now, I don't get much out of them.
Dwayne: They would help you price your work if a job came in. It was their primary thing but they stopped it 2-3 years ago. However there is now a database being compiled of illustration prices: who has been paid by who.
Rachel: There is also something called Lightbox going around on Twitter
Is being shy and unable to speak up a problem?
Rachel: No
Hazel: Yes
Rachel: I was a hermit and I got by.
Hazel: If you're quiet and you still have that drive you can get by. I have friends who were quiet and didn't have drive and they're doing nothing now.
Tony: The world will never come to you. You've got to go to the world.
Do you find much use in LinkedIn (my quesiton)?
Both: No
Is Twitter better than Instagram for engaging with clients?
Rachel: Yeah. It feels more like a community than it does on Instagram. Instagram is in the bin for me at the moment.
Do you upload your work on Twitter regularly?
Rachel: I post on both at the same time. And that's it.
Tony: How often and at any particular time of day?
Rachel: That's something that I'm still struggling to figure out.
Hazel: 6-8 at night is the best time to post. But engagement in the first hour is SO important or it just won't make it.
(Group discussion supporting the idea of using Twitter for art over Instagram for the community. But personally I still think Instagram is a good portfolio.)
Hazel recommends keeping social media updated as she has had lots of commissions through just posting on there. No "magic" hashtags.
How do you feel about mailers and reaching out?
Rachel: I sent things out to people but nothing ever came from it. I send out emails now instead like every 3 months saying "hey I have some new work in my portfolio now if you'd like to have a look.
Dwayne: Do you have a mailing spreadsheet?
Rachel: Someone sent me a list of contacts list and I used it as a template to file which contacts have been emailed, which ones are interested in working with me etc.
Hazel: I never really sent out many packs. I send a few low res images (4 or 5 most recent work) so they can immediately see what I'm like so they can click my link or disregard me. You need to find the person to send it to, like to an art director not just a vague company. Make sure you know who should be receiveing it.
How do you make a speculative work brief? What is speculative work and what is personal work?
Rachel: I used the Apple news app, took an article that I thought "this needs an illustration" and did the work for it.
Hazel: Picking a book that I really enjoy that doesn't have illustrations and creating a body of work for it.
(Taking the thing they want to get work in, and making work for it that didn't exist before.)
How do you go about running a store?
Hazel: I bought a really good printer and now I can sell the mass of products that I do (postcards and prints). You can get other people to make them for you of course, maybe a printer is something that would happen later down the line.
Packaging and shipping products?
Hazel: Ludia bulk bought the products she would need to ship things out. Do it in a conveyor belt system. Sticky labels, delivery addresses all laid out ready.
Is there any difference with international clients?
Hazel: I reach out to international ones more because they pay better, to be honest. But there's not much difference really. American websites tend to show the art director and British ones are more secretive. I send out 4 low res images and a link to my portfolio. My name's _ I'm from _ I specialise in _ [Show a little bit of interest in the company, tell them what you want] Thanks, _.
Tony: The first job is the hardest. People look at your portfolio to see which clients you've worked with, so it's building that up.
What's freelance like?
Rachel: I work in retail.
Hazel: I work in a niche shop in York. It fits in quite easily doing a part time job if it's not something you have to take home. (It's the Christmas shop)
Rachel: I use Procreate for everything. I even sketch on there.
Jim: Would you send off sketches from your iPad to the clients?
Rachel: Yes. Straight forward linework as simple as possible. I send about 3 ro 4 sketches depending on the client and the deadline. The clients use Trello but otherwise just email.
Hazel: Don't spend hours on it for the sketches to just say "oh I don't like that."
Is there any etquette when presenting to a clients?
Hazel: It depends on the client. You can have friendliness after a couple years but for new clients have that level of politeness and detached respect until you know if they like your work or want to work with you.
Dwayne: You figure it out, there's not an answer, you figure out your approach.
The design process we teach the students is research -> lots and lots of thumbnails -> development sketches/composition and colours -> final thing. At what point do you send clients the sketches?
Both: Linework/composition and colours.
Rachel: Most people show give you a deadline.
Dwayne: You will get a sense for a no-turning back moment in the process when thinking about when to check in with the client.
How do you price a job?
Rachel: I don't get the option to price often, in editorial they have a set budget in mind. (We'll pay you this, do you want to do it or not)
Hazel: Minimum wage + £10, as a base. You've got to price appropriately depending on the client, indie client v a huge company.
Dwayne: No is a powerful word. Rememeber that you can say no.
Have you thought about illustration agencies?
Rachel: I am kind of being represented but it's not full on... I don't really understand it. I signed a contract and nothing's come out of it and that was over a year ago. I'm still looking.
Hazel: I am looking but not looking hard. I'm doing okay as things are right now. Trying to get an agency straight out of university will go badly. You'll get put in a group of 200 people that are really bad because they're the only ones who will take you with the current work.
Tony: They also get a % of your wages.
Dwayne: Are you both members of the AOI?
Both: Yep
Rachel: Before they stopped helping you price estimates, that was really helpful in weeding out bad clients. But now, I don't get much out of them.
Dwayne: They would help you price your work if a job came in. It was their primary thing but they stopped it 2-3 years ago. However there is now a database being compiled of illustration prices: who has been paid by who.
Rachel: There is also something called Lightbox going around on Twitter
Is being shy and unable to speak up a problem?
Rachel: No
Hazel: Yes
Rachel: I was a hermit and I got by.
Hazel: If you're quiet and you still have that drive you can get by. I have friends who were quiet and didn't have drive and they're doing nothing now.
Tony: The world will never come to you. You've got to go to the world.
Do you find much use in LinkedIn (my quesiton)?
Both: No
Is Twitter better than Instagram for engaging with clients?
Rachel: Yeah. It feels more like a community than it does on Instagram. Instagram is in the bin for me at the moment.
Do you upload your work on Twitter regularly?
Rachel: I post on both at the same time. And that's it.
Tony: How often and at any particular time of day?
Rachel: That's something that I'm still struggling to figure out.
Hazel: 6-8 at night is the best time to post. But engagement in the first hour is SO important or it just won't make it.
(Group discussion supporting the idea of using Twitter for art over Instagram for the community. But personally I still think Instagram is a good portfolio.)
18th March 2021
An Audience With... No.3
Rachel
Illustrator and graduate of UOC. Does a lot of digital, bright, and wonderful editorial illustration, and has recently ventured into children's publishing.
Website | Twitter | Instagram
Hazel
Also an illustrator and fellow graduate of UOC. Specialises in editorial and book illustration. Has a more realistic approach compared to Rachel's very commercial illustration. She is passionate about colour and texture.
Website | Twitter | Instagram
Questions for both, since their fields are similar:
Do you find LinkedIn very useful?
How do you price a job?
How do you find life as a freelancer?
How important is social media to getting work?
Do you find that you had to adapt your style to a certain way of working to be successful in getting work in editorial illustration?
Illustrator and graduate of UOC. Does a lot of digital, bright, and wonderful editorial illustration, and has recently ventured into children's publishing.
Website | Twitter | Instagram
Hazel
Also an illustrator and fellow graduate of UOC. Specialises in editorial and book illustration. Has a more realistic approach compared to Rachel's very commercial illustration. She is passionate about colour and texture.
Website | Twitter | Instagram
Questions for both, since their fields are similar:
Do you find LinkedIn very useful?
How do you price a job?
How do you find life as a freelancer?
How important is social media to getting work?
Do you find that you had to adapt your style to a certain way of working to be successful in getting work in editorial illustration?
11th March 2021
An Audience With... Duncan Fegredo and Sean Phillips - Notes
What is the best part of your job?
Sean: We both love drawing, that's the best thing. We draw and we get paid for it. I'm my own boss and I don't have to do anything anyone tells me to do.
Duncan: Even if it's not your own story, I like solving problems with storytelling.
Sean: Drawing isn't that much fun... But figuring out how to do it is the fun bit.
Duncan: Yes, solving problems is the fun part. Drawing is nice when it goes well but it's repetitive and can be a grind sometimes; it can be both the best or worst part of the job. You want to draw a good story with compelling characters, and if it has those, you will make it work even if you have to draw things you hate to draw - it's all about the storytelling.
When you take on big comic jobs with the likes of Spiderman or Hellboy, are there concerns because of the artists that have come before you? - Since as Duncan exclaimed, you will always feel like these artists are better than you.
Duncan: Yes!
Sean: A little bit, but you would never get any work done if you thought like that all the time. It's like comedy, on one hand they're better than me, and on the other hand, I'm the best. You have to juggle that. You can't go into this thinking that you're no good or you'll never get anything done.
Duncan: You have always had a good mindset about this, while I am full of self-doubt. The result for you is that you are really good at getting the job done, because there's always another one coming. Sean's approach is the right one. At the end of the day, you have to get out of your own way - get out of your own headspace. If I screw a project up, I'm screwing it up less than anyone else because I care.
What's your favourite scene that you've drawn? What is the most challenging thing you have faced? And, have you ever backed out of a job because it was just too difficult for you in some way?
Sean: I was recently asked to repaint the figure of Captain Morgan's Rum. I said yes, and then I thought, "...I'm not good enough to do this!" So, I turned it down in the end. I recommended someone for the job, and they did it, and then I thought "yeah I could have done it as good as that."
(If you ask me, this is a huge missed opportunity. It also slightly contradicts the aforementioned mindset of believing you're good enough. It is always important to believe in your worth and give it a shot.)
Sean: Every script I get feels impossible to make into a comic, but only for the first time you read it. Then you start breaking it down into smaller, manageable chunks, and eventually you'll finish it. It's always daunting at the beginning.
Dwayne: No matter what we're doing in graphic design or illustration, that's the initial feeling, isn't it?
Duncan: The moment you start to try to work something out, it is compromised. Every step of the way is making compromises and problem solving, and the minute you begin to do this, you are chipping away at what seemed daunting at first, and making progress towards the final product.
Duncan: Sometimes your final piece will have strayed from the excitement and prospect of the initial sketch.
Sean: But sometimes it turns out better than you would have expected. You can surprise yourself!
Duncan: Yes, and spending more time on a piece isn't always necessarily the answer.
Duncan: I have turned down jobs but they have been due to time restraints or parts of the process that I had not considered, such as being underpaid for the expected workload. Some briefs aren't worth the pain, and sometimes you realistically just don't have the time.
Duncan: The storyboarding stuff I did outside of comics was both amazing and terrifying due to a new work environment. It was scary at the time, but rewarding. Unlike comics where you have a lot of contol, in film, you are a tiny cog in the machine. It may feel like "what was the point in that?" if you cannot recognise your input in the final product, but it's a good opportunity.
Sean, you had your Captain Morgan commission, and Duncan, you mentioned film work - Noah, and Star Wars: Rogue One. How did those projects come around?
Sean: For us, we don't look for this stuff, it just comes along.
(While that may be realistic for these seasoned artists... It isn't the most useful advice for students breaking into the industry.)
Sean: One of the DVD cover opportunities I've had came from featuring a crime essay in the back of a comic I worked on, that was related to the narrative. The art director just happened to read our comics and reached out. I did one, and then I did a few more.
Duncan: Same sort of thing for me. The Noah opportunity came through a mutual contact, where I was asked to be put forward to solve a problem. I drew some thumbnail storyboards (in the wrong ratio) of the described scene over about 3 days and depicted what the creators had in mind for the film, put forward my idea of it, and I was soon unexpectedly called by the producer - "I like what you did, what are you doing for the next 8 weeks?" This storyboarding pitch lead to 20 weeks of work. Production wasn't smooth due to a problem with the lead actor. It ceased and I stopped being paid, which was a shame because I was being paid extremely well. I worked on the film during its pause, even though I wasn't getting paid, by drawing layouts. I had faith it would come back online and put off other projects for 3 months just incase. The flim did come back.
(It is quite relieving to hear that storyboarding pays well.)
Duncan: For Rogue One, the special effects guy contacted me after finding my online shop. The email said, "We'd like you to come down and do some storyboards. Are you available to start work on Monday?" Of course I was. I storyboarded Noah entirely at home, but with Rogue One, I had to work in an office with other people (in house production).
Do you have advice for those hoping to get into illustration?
Duncan: If you want to get into comics, show that you can tell a story. Storytelling, panel progression, an understanding of storytelling, awareness of using space (speech bubbles), show your ability to draw people and that you have a sense of anatomy. Be able to draw normality as well as fantastical stuff.
As to how you approach editors, for us, the protocol would be to go to conventions and show your work to editors attending. You can still do this, but they are likely to not be talent scouting as much these days because there is the entire internet of artists available. Every company now has submissions guidelines - you apply online now. For comics, you can likely obtain sample scripts to produce work from, to submit.
Sean: I was 15 when I got an agent and got published. When I was 13, a comic artist at my school ran evening classes, and I attended, and by the time I was 15 he thought I was good enough to pencil for him. I didn't get credited, but he paid me, and went over my drawings correcting them. In college, a comic artist had taken the same class as me 10 years prior to my attending. I learnt he was to give us a lecture, and took some sample pages to show him. He liked them, and told his writer about me. A couple years later, they gave me work.
(This is extremely fortunate. In short, it helps to have connections, and it pays to take a leap of faith in trying to make them.)
Sean: If you want to make comics, you have to make them, and then put them out there, put them online. If you don't want to write stuff, find someone who wants to write for you. There are many people online who want to collaborate with artists. Print out your comic, put it on the table at a comics festival, like the one in Kendal (LICAF) or Harrogate (Thought Bubble). Plenty down south, too. Eventually you'll get good enough, and you'll get good enough by making the work. It's a lot of work. There isn't much of a comics industry in the UK anymore, so Duncan and I both work for American publishers, who expect you to produce a page a day - at least. That has to be the work ethic. If you think "I can't be bothered to do a page today" - that's just not the way to do it. You can't waste time waiting for inspiration. You just have to get on with it.
As for illustration, I'm unsure. My son took it, and didn't know how to find work after university. But he reached out locally, and grew from there. You start small and build up, but it can take years and years. A lot of artists have other jobs because they don't make a living wage doing comics. But you don't get into comics for the money, you do it because you love it. It's the same for the other art disciplines. You have to love it, or you won't commit yourself to putting the hours in, and also soaking up good art around you too.
Duncan: You're always doing that, aren't you?
Sean: Yeah. You can't even watch a film without thinking about the lighting or composition. You've got to have this curious mind.
(I really relate to this. I am always analysing film and appreciating art and design no matter its platform or whereabouts. It's fascinating.)
Your influences are really broad. Do you take a lot of influence from other comic artists, or are you busy looking elsewhere and bringing it into the comic world? It's a common mistake among young illustrators and artists that they are only influenced by the things that already exist in their bubble.
Duncan: If you're taking influence from an artist it's probably because you're liking the same work that they are liking. It's very rare to see an artist with work so distinctive that it doesn't resemble any other, but you know that they liked something that came before them too. With comic artists, you'll see that they are influenced by things outside of comics, and you start to be brought into this network of outside inspirations. It only makes sense to look further than comics. Comic artists on their own as an influence are bad because you are absorbing both the bad habits and the good habits. You have to look broader to understand and realise how to categorise those habits and learn from them. When an artist you like is doing something right, the chances are that they are also doing something wrong - if you're only taking in work from one bubble, you're only repeating their mistakes.
Sean: You take influence from a lot of things, but it's a big mistake to get hung up on style. Your style develops from all of the things you do wrong, and from all of the things you take in. I could just look at people who draw like me, there would be loads of them, but you have to look outside of that and not worry about it too much. My style came about largely because I had a lot of clients that had it be fitting to work in that style. When I get a script or a brief, I think, "How can I change the way I draw [my style] to fit the story better?" And you can do that if you're well-read or draw a lot of different art. Look at a lot of different stuff. Sculpture, fine art, film, TV, illustration, graphic design, fashion; everything. You can get something from everywhere.
Duncan: You draw in the way of what's necessary for the job, to bring out the right tone and serve the story the best. It's part of the communication. What's going to engage the audience?
How do you create believeable, dramatic figures? Do you use photographic reference, or special software?
Sean: I use a lot of photo ref. I shoot photos for everything or I find stuff online or in a book. If you don't know how to draw it, you go out and find out how it looks like. I take photos of myself with a timer on my camera, and my camera on a tripod. Using other people to pose leads to inconveniences. Act it out. I have two spotlights in my studio to do the lighting too. Drawing from your head leads you to default to your stock poses and angles, and using reference helps you to break out of that.
Duncan: I do it all out of my head - I am stupid. I used to use a full-length mirror. I glance at a mirror now and then, it's higher than me, looking down at me at quite an extreme perspective. I use it to refer to poses now and then. Freeze-frame photo reference is rubbish. If I try to refer to something too directly, it gets too stiff and just doesn't work, but maybe I just haven't stuck with it long enough and learnt how to make good use of it. The moment you try to refine a sketch and give it a proper environment, all of a sudden you have a whole lot of conflicts going on, and it starts to stiffen up. So I definitely waste time like this, in not using reference to its full potential to perhaps avoid things like this. Sometimes things aren't going well because you're making it up out of your head. Reality has useful information. So be it getting too lost in drawing strictly from reference, or making it up out of your head, there are drawbacks either way. Making it up can lead to more expressiveness, but you risk losing that sense of reality and grit, but if you get too stuck in the realism side with photos, you can lose that emotive language. It is comparible to being able to pick up the language of an emoticon instantly, but you may have to analyse a photograph to understand its meaning and emotion. Cartooning brings that out. You ideally want to find a way to blend the two things and not lose your mind in the process.
Sean: Use whatever you find gets the job done best, even if it's by using software.
[Conversational discourse...]
Sean: What we both enjoy about comics is the acting between the characters. Getting them to feel believeable, not neccessarily realistic, but in that the audience totally believes that world. Everything looks and feels like it belongs there.
One of the third year illustrators, Dani (me), is interested in getting into storyboarding. Her question is, "I read that you were a storyboard artist on Star Wars and Noah, despite being a comic artist. As a non-animation student working to become a storyboard artist, what are the most important things to know, and the most important skills to have? And what are the realities of working in preproduction for the film/TV industry?"
Duncan: I did a bit for Pixar, but they were comic pages. Animation works differently to movies, and different directors want different things from storyboards. You don't have to be the best artist to be a storyboard artist. A lot of storyboards are rudimentary (basic, rough) and depend on their purpose. On Noah I was providing the camera's point of view of actors in an environment, but it was a very rudimentary environment because it hadn't been designed at that point, so I was just working from the basics of what I already knew. I was following the director's notation with regards to where cameras and characters were placed for scenarios. You would use arrows to indicate where characters would move, and numbers to annotate the cameras and characters. The director can have it already all planned out in their head.
(I would assume this isn't strictly the same for every director, but it is somewhat surprising to be limited so much on creative freedom here.)
Duncan: It can be hard to adapt to, because I'm used to sorting all that stuff out myself. The director would indicate long-shot, medium-shot, close-up. What I thought was a close-up, isn't necessarily what is considered a close-up in film, so it's good to refer to the internet and storyboarding books about these details - to get a rough idea of what the director intended. Have a basic idea of how to draw people, understand how to place figures into a 3D space, understand how to move those characters around in the 3D space from different points of view, have a basic understanding of what you can do with lighting - you may be asked for this. Sometimes you will be asked to do a scene again, and again, with slight alterations, and you may feel like you're doing it wrong, but that isn't really it, as the director is just looking for alternative choices. The more choice you can give, the happier the director is. Sometimes you may not even get a notation from the director; they may give you a section of the script and say "break it down, see what you can come up with."
Duncan: Animation is very different. It comes in 2 forms. Storyboarding for animation is more like rudimentary animation in itself. You're doing key frames of action sequences (often as you see with the key frame animations in anime production - the website sakugabooru.com showcases much of this) - I wouldn't have a clue how to do it! It blows my mind. The other sort is what Pixar have done, if you have a gag or story to be told, it is all about timing and performance of the character, and how that plays out. It's not about camera placements or anything - that comes later. That is why sometimes with preproduction for Pixar you will get 2 characters with no environment, where it is the interaction of the characters alone. There is the gag, the silence, and then the pay-off. The way that is filmed will be entirely different. Somebody else will piece it together in 3D. That's a whole other thing altogether. When I did the comic pages for Pixar, that was their way of getting to the 3D part faster instead of going with the usual process... But I probably shouldn't be talking about this.
Sean: We both love drawing, that's the best thing. We draw and we get paid for it. I'm my own boss and I don't have to do anything anyone tells me to do.
Duncan: Even if it's not your own story, I like solving problems with storytelling.
Sean: Drawing isn't that much fun... But figuring out how to do it is the fun bit.
Duncan: Yes, solving problems is the fun part. Drawing is nice when it goes well but it's repetitive and can be a grind sometimes; it can be both the best or worst part of the job. You want to draw a good story with compelling characters, and if it has those, you will make it work even if you have to draw things you hate to draw - it's all about the storytelling.
When you take on big comic jobs with the likes of Spiderman or Hellboy, are there concerns because of the artists that have come before you? - Since as Duncan exclaimed, you will always feel like these artists are better than you.
Duncan: Yes!
Sean: A little bit, but you would never get any work done if you thought like that all the time. It's like comedy, on one hand they're better than me, and on the other hand, I'm the best. You have to juggle that. You can't go into this thinking that you're no good or you'll never get anything done.
Duncan: You have always had a good mindset about this, while I am full of self-doubt. The result for you is that you are really good at getting the job done, because there's always another one coming. Sean's approach is the right one. At the end of the day, you have to get out of your own way - get out of your own headspace. If I screw a project up, I'm screwing it up less than anyone else because I care.
What's your favourite scene that you've drawn? What is the most challenging thing you have faced? And, have you ever backed out of a job because it was just too difficult for you in some way?
Sean: I was recently asked to repaint the figure of Captain Morgan's Rum. I said yes, and then I thought, "...I'm not good enough to do this!" So, I turned it down in the end. I recommended someone for the job, and they did it, and then I thought "yeah I could have done it as good as that."
(If you ask me, this is a huge missed opportunity. It also slightly contradicts the aforementioned mindset of believing you're good enough. It is always important to believe in your worth and give it a shot.)
Sean: Every script I get feels impossible to make into a comic, but only for the first time you read it. Then you start breaking it down into smaller, manageable chunks, and eventually you'll finish it. It's always daunting at the beginning.
Dwayne: No matter what we're doing in graphic design or illustration, that's the initial feeling, isn't it?
Duncan: The moment you start to try to work something out, it is compromised. Every step of the way is making compromises and problem solving, and the minute you begin to do this, you are chipping away at what seemed daunting at first, and making progress towards the final product.
Duncan: Sometimes your final piece will have strayed from the excitement and prospect of the initial sketch.
Sean: But sometimes it turns out better than you would have expected. You can surprise yourself!
Duncan: Yes, and spending more time on a piece isn't always necessarily the answer.
Duncan: I have turned down jobs but they have been due to time restraints or parts of the process that I had not considered, such as being underpaid for the expected workload. Some briefs aren't worth the pain, and sometimes you realistically just don't have the time.
Duncan: The storyboarding stuff I did outside of comics was both amazing and terrifying due to a new work environment. It was scary at the time, but rewarding. Unlike comics where you have a lot of contol, in film, you are a tiny cog in the machine. It may feel like "what was the point in that?" if you cannot recognise your input in the final product, but it's a good opportunity.
Sean, you had your Captain Morgan commission, and Duncan, you mentioned film work - Noah, and Star Wars: Rogue One. How did those projects come around?
Sean: For us, we don't look for this stuff, it just comes along.
(While that may be realistic for these seasoned artists... It isn't the most useful advice for students breaking into the industry.)
Sean: One of the DVD cover opportunities I've had came from featuring a crime essay in the back of a comic I worked on, that was related to the narrative. The art director just happened to read our comics and reached out. I did one, and then I did a few more.
Duncan: Same sort of thing for me. The Noah opportunity came through a mutual contact, where I was asked to be put forward to solve a problem. I drew some thumbnail storyboards (in the wrong ratio) of the described scene over about 3 days and depicted what the creators had in mind for the film, put forward my idea of it, and I was soon unexpectedly called by the producer - "I like what you did, what are you doing for the next 8 weeks?" This storyboarding pitch lead to 20 weeks of work. Production wasn't smooth due to a problem with the lead actor. It ceased and I stopped being paid, which was a shame because I was being paid extremely well. I worked on the film during its pause, even though I wasn't getting paid, by drawing layouts. I had faith it would come back online and put off other projects for 3 months just incase. The flim did come back.
(It is quite relieving to hear that storyboarding pays well.)
Duncan: For Rogue One, the special effects guy contacted me after finding my online shop. The email said, "We'd like you to come down and do some storyboards. Are you available to start work on Monday?" Of course I was. I storyboarded Noah entirely at home, but with Rogue One, I had to work in an office with other people (in house production).
Do you have advice for those hoping to get into illustration?
Duncan: If you want to get into comics, show that you can tell a story. Storytelling, panel progression, an understanding of storytelling, awareness of using space (speech bubbles), show your ability to draw people and that you have a sense of anatomy. Be able to draw normality as well as fantastical stuff.
As to how you approach editors, for us, the protocol would be to go to conventions and show your work to editors attending. You can still do this, but they are likely to not be talent scouting as much these days because there is the entire internet of artists available. Every company now has submissions guidelines - you apply online now. For comics, you can likely obtain sample scripts to produce work from, to submit.
Sean: I was 15 when I got an agent and got published. When I was 13, a comic artist at my school ran evening classes, and I attended, and by the time I was 15 he thought I was good enough to pencil for him. I didn't get credited, but he paid me, and went over my drawings correcting them. In college, a comic artist had taken the same class as me 10 years prior to my attending. I learnt he was to give us a lecture, and took some sample pages to show him. He liked them, and told his writer about me. A couple years later, they gave me work.
(This is extremely fortunate. In short, it helps to have connections, and it pays to take a leap of faith in trying to make them.)
Sean: If you want to make comics, you have to make them, and then put them out there, put them online. If you don't want to write stuff, find someone who wants to write for you. There are many people online who want to collaborate with artists. Print out your comic, put it on the table at a comics festival, like the one in Kendal (LICAF) or Harrogate (Thought Bubble). Plenty down south, too. Eventually you'll get good enough, and you'll get good enough by making the work. It's a lot of work. There isn't much of a comics industry in the UK anymore, so Duncan and I both work for American publishers, who expect you to produce a page a day - at least. That has to be the work ethic. If you think "I can't be bothered to do a page today" - that's just not the way to do it. You can't waste time waiting for inspiration. You just have to get on with it.
As for illustration, I'm unsure. My son took it, and didn't know how to find work after university. But he reached out locally, and grew from there. You start small and build up, but it can take years and years. A lot of artists have other jobs because they don't make a living wage doing comics. But you don't get into comics for the money, you do it because you love it. It's the same for the other art disciplines. You have to love it, or you won't commit yourself to putting the hours in, and also soaking up good art around you too.
Duncan: You're always doing that, aren't you?
Sean: Yeah. You can't even watch a film without thinking about the lighting or composition. You've got to have this curious mind.
(I really relate to this. I am always analysing film and appreciating art and design no matter its platform or whereabouts. It's fascinating.)
Your influences are really broad. Do you take a lot of influence from other comic artists, or are you busy looking elsewhere and bringing it into the comic world? It's a common mistake among young illustrators and artists that they are only influenced by the things that already exist in their bubble.
Duncan: If you're taking influence from an artist it's probably because you're liking the same work that they are liking. It's very rare to see an artist with work so distinctive that it doesn't resemble any other, but you know that they liked something that came before them too. With comic artists, you'll see that they are influenced by things outside of comics, and you start to be brought into this network of outside inspirations. It only makes sense to look further than comics. Comic artists on their own as an influence are bad because you are absorbing both the bad habits and the good habits. You have to look broader to understand and realise how to categorise those habits and learn from them. When an artist you like is doing something right, the chances are that they are also doing something wrong - if you're only taking in work from one bubble, you're only repeating their mistakes.
Sean: You take influence from a lot of things, but it's a big mistake to get hung up on style. Your style develops from all of the things you do wrong, and from all of the things you take in. I could just look at people who draw like me, there would be loads of them, but you have to look outside of that and not worry about it too much. My style came about largely because I had a lot of clients that had it be fitting to work in that style. When I get a script or a brief, I think, "How can I change the way I draw [my style] to fit the story better?" And you can do that if you're well-read or draw a lot of different art. Look at a lot of different stuff. Sculpture, fine art, film, TV, illustration, graphic design, fashion; everything. You can get something from everywhere.
Duncan: You draw in the way of what's necessary for the job, to bring out the right tone and serve the story the best. It's part of the communication. What's going to engage the audience?
How do you create believeable, dramatic figures? Do you use photographic reference, or special software?
Sean: I use a lot of photo ref. I shoot photos for everything or I find stuff online or in a book. If you don't know how to draw it, you go out and find out how it looks like. I take photos of myself with a timer on my camera, and my camera on a tripod. Using other people to pose leads to inconveniences. Act it out. I have two spotlights in my studio to do the lighting too. Drawing from your head leads you to default to your stock poses and angles, and using reference helps you to break out of that.
Duncan: I do it all out of my head - I am stupid. I used to use a full-length mirror. I glance at a mirror now and then, it's higher than me, looking down at me at quite an extreme perspective. I use it to refer to poses now and then. Freeze-frame photo reference is rubbish. If I try to refer to something too directly, it gets too stiff and just doesn't work, but maybe I just haven't stuck with it long enough and learnt how to make good use of it. The moment you try to refine a sketch and give it a proper environment, all of a sudden you have a whole lot of conflicts going on, and it starts to stiffen up. So I definitely waste time like this, in not using reference to its full potential to perhaps avoid things like this. Sometimes things aren't going well because you're making it up out of your head. Reality has useful information. So be it getting too lost in drawing strictly from reference, or making it up out of your head, there are drawbacks either way. Making it up can lead to more expressiveness, but you risk losing that sense of reality and grit, but if you get too stuck in the realism side with photos, you can lose that emotive language. It is comparible to being able to pick up the language of an emoticon instantly, but you may have to analyse a photograph to understand its meaning and emotion. Cartooning brings that out. You ideally want to find a way to blend the two things and not lose your mind in the process.
Sean: Use whatever you find gets the job done best, even if it's by using software.
[Conversational discourse...]
Sean: What we both enjoy about comics is the acting between the characters. Getting them to feel believeable, not neccessarily realistic, but in that the audience totally believes that world. Everything looks and feels like it belongs there.
One of the third year illustrators, Dani (me), is interested in getting into storyboarding. Her question is, "I read that you were a storyboard artist on Star Wars and Noah, despite being a comic artist. As a non-animation student working to become a storyboard artist, what are the most important things to know, and the most important skills to have? And what are the realities of working in preproduction for the film/TV industry?"
Duncan: I did a bit for Pixar, but they were comic pages. Animation works differently to movies, and different directors want different things from storyboards. You don't have to be the best artist to be a storyboard artist. A lot of storyboards are rudimentary (basic, rough) and depend on their purpose. On Noah I was providing the camera's point of view of actors in an environment, but it was a very rudimentary environment because it hadn't been designed at that point, so I was just working from the basics of what I already knew. I was following the director's notation with regards to where cameras and characters were placed for scenarios. You would use arrows to indicate where characters would move, and numbers to annotate the cameras and characters. The director can have it already all planned out in their head.
(I would assume this isn't strictly the same for every director, but it is somewhat surprising to be limited so much on creative freedom here.)
Duncan: It can be hard to adapt to, because I'm used to sorting all that stuff out myself. The director would indicate long-shot, medium-shot, close-up. What I thought was a close-up, isn't necessarily what is considered a close-up in film, so it's good to refer to the internet and storyboarding books about these details - to get a rough idea of what the director intended. Have a basic idea of how to draw people, understand how to place figures into a 3D space, understand how to move those characters around in the 3D space from different points of view, have a basic understanding of what you can do with lighting - you may be asked for this. Sometimes you will be asked to do a scene again, and again, with slight alterations, and you may feel like you're doing it wrong, but that isn't really it, as the director is just looking for alternative choices. The more choice you can give, the happier the director is. Sometimes you may not even get a notation from the director; they may give you a section of the script and say "break it down, see what you can come up with."
Duncan: Animation is very different. It comes in 2 forms. Storyboarding for animation is more like rudimentary animation in itself. You're doing key frames of action sequences (often as you see with the key frame animations in anime production - the website sakugabooru.com showcases much of this) - I wouldn't have a clue how to do it! It blows my mind. The other sort is what Pixar have done, if you have a gag or story to be told, it is all about timing and performance of the character, and how that plays out. It's not about camera placements or anything - that comes later. That is why sometimes with preproduction for Pixar you will get 2 characters with no environment, where it is the interaction of the characters alone. There is the gag, the silence, and then the pay-off. The way that is filmed will be entirely different. Somebody else will piece it together in 3D. That's a whole other thing altogether. When I did the comic pages for Pixar, that was their way of getting to the 3D part faster instead of going with the usual process... But I probably shouldn't be talking about this.
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Left: Storyboarding
Above: Key frame animation I thought I should gather some distingushing examples to support Duncan's comparative statement of storyboarding for animation being a lot like drawing for actual animation frames. This animation is Hibike! Euphonium (響け！ユーフォニアム). |
Duncan: In comics, there is usually an editor. You'll be serving the writer's script and the editor's needs, and sometimes there will be tweeks, but largely you are in control and have a lot of freedom. In film you have to have the awareness that you're part of a team, you're working to somebody else's vision. So you might think you've got a great idea, but you've got to be ready to accept that what you've done is wrong or not what they're looking for, and follow a different route. You are a small cog in a much bigger machine so the ability to talk about ideas with a director or other people on the team is necessary. It's a lot of give and take.
(Without elaborating needlessly, this was extremely interesting and helpful information about the animation industry and what it is like for a non-animation artist to become a part of it.)
(Without elaborating needlessly, this was extremely interesting and helpful information about the animation industry and what it is like for a non-animation artist to become a part of it.)
11th March 2021
3.3 An Audience With... No.2
This evening (7pm-8pm) we will be joined by Duncan Fegredo and Sean Phillips, comic book artists with experience with comics, film, music and packaging.
Duncan
'Duncan Fegredo is best known for his collaborations with Mike Mignola on Mignola’s iconic Hellboy. Books include Darkness Calls, The Wild Hunt, The Storm & The Fury and The Midnight Circus, all published by Dark Horse Comics.
Earlier significant works include Enigma with writer Peter Milligan (Vertigo), Jay & Silent Bob with writer/director Kevin Smith and more recently MPH with writer and iconoclast Mark Millar (Image books).
A step outside comics saw Fegredo work as lead storyboard artist on Darren Aronofsky’s NOAH movie. More recently he contributed storyboards to Rogue One: A Star Wars Story and for a sadly defunct Pixar project. Sigh.
Recently Fegredo returned to Hellboy with the one-shot The Beast of Vargu, he was reminded that comics are “Bloody hard work”.'
- The Lakes International Comic Arts Festival Official Page
Although Duncan's stylistic drawing approach is very different from my own, his work in comics is going to be very insightful as I am just about to start with conceptual development for my own graphic novels. I should ask him about his processes when it comes to making finalised compositions and how his design process functions. It's also very intruiging that he then went onto be a storyboard artist, the profession I would like to go into. I should enquire how he got into this from being a comic artist and how a student wanting to go down this career path should also try to approach it. What are the realities of being a storyboard artist, too? What are the most important things to know and the most important skills to have?
Sean
'Drawing comics professionally since the age of fifteen, Eisner Award winning Sean Phillips has worked for all the major publishers. Since drawing Sleeper, Hellblazer, Batman, X-Men, Marvel Zombies, and Stephen King’s The Dark Tower, Sean has concentrated on creator-owned books including Criminal, Kill Or Be Killed, Incognito, Fatale and The Fade Out.
He is currently drawing a new volume of the long-running Criminal series written by his long-time collaborator Ed Brubaker and coloured by his son Jacob Phillips.
He lives in the Lake District in the UK.'
- Information from Image Comics
Duncan
'Duncan Fegredo is best known for his collaborations with Mike Mignola on Mignola’s iconic Hellboy. Books include Darkness Calls, The Wild Hunt, The Storm & The Fury and The Midnight Circus, all published by Dark Horse Comics.
Earlier significant works include Enigma with writer Peter Milligan (Vertigo), Jay & Silent Bob with writer/director Kevin Smith and more recently MPH with writer and iconoclast Mark Millar (Image books).
A step outside comics saw Fegredo work as lead storyboard artist on Darren Aronofsky’s NOAH movie. More recently he contributed storyboards to Rogue One: A Star Wars Story and for a sadly defunct Pixar project. Sigh.
Recently Fegredo returned to Hellboy with the one-shot The Beast of Vargu, he was reminded that comics are “Bloody hard work”.'
- The Lakes International Comic Arts Festival Official Page
Although Duncan's stylistic drawing approach is very different from my own, his work in comics is going to be very insightful as I am just about to start with conceptual development for my own graphic novels. I should ask him about his processes when it comes to making finalised compositions and how his design process functions. It's also very intruiging that he then went onto be a storyboard artist, the profession I would like to go into. I should enquire how he got into this from being a comic artist and how a student wanting to go down this career path should also try to approach it. What are the realities of being a storyboard artist, too? What are the most important things to know and the most important skills to have?
Sean
'Drawing comics professionally since the age of fifteen, Eisner Award winning Sean Phillips has worked for all the major publishers. Since drawing Sleeper, Hellblazer, Batman, X-Men, Marvel Zombies, and Stephen King’s The Dark Tower, Sean has concentrated on creator-owned books including Criminal, Kill Or Be Killed, Incognito, Fatale and The Fade Out.
He is currently drawing a new volume of the long-running Criminal series written by his long-time collaborator Ed Brubaker and coloured by his son Jacob Phillips.
He lives in the Lake District in the UK.'
- Information from Image Comics
Questions for Duncan:
Questions for Sean:
- I read that you were a storyboard artist for Star Wars and NOAH, despite being a comic artist. As a non-animation student heading down the path of working as a storyboard artist, what are the most important things to know and the most important skills to have? And what are the realities of working in preproduction for the film & TV industry?
- As a comic artist, do you have advice for time management for drawing comics? The stages of development, layouts, clean up and colouring all seem very time consuming.
Questions for Sean:
- What do you think makes a good graphic novel?
4th March 2021
An Audience With... Lucy Hadley and Vince Walden - Notes
Lucy
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Lucy
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Vince
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Vince
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Both are UoC graphic design graduates, despite Lucy going into illustration in her 3rd year.
*These are not exact responses, just my notes of generally what the artists said.
Getting a book published or self-publishing?
Lucy: I recommend the writers and artists yearbook. Particularly good for childrens publishing. There's also a lot of contact details of UK and overseas publishers, and how to get in touch with them. Also has information on submissions. Even if they arent taking submissions you can send it to them anyway. I published and sold my book through my website. Used a printing company (and for lots of other print jobs, books, postcards etc.) "ISBN" is needed to sell through third party (e.g. Waterstones) so I self published. I lay out everything myself and then upload the print ready PDF to the print company, and choose the page number and the finish. Its useful to be able to do know how to do this right. I used mixam.co.uk.
How much do you charge for commissions? Where do you start? How do you work out when to get enough confidence to raise commission prices?
Vince: I plucked a price out of the air to start with and spoke to a friend after that first job and I was told I was undercharging. I then started looking at other people's prices. There's 2 ways of charging people: 1. Hourly basis - and I'll be as transparent as I like. I charge £35/hour right now but I'm planning on raising it. 2. A rounded price - e.g. £500 for the whole job. Most people dont seem to like the hourly fee because we go back and amend things. You can overcharge and be told you're overcharging and come down from it, but once you undercharge people it's much harder to come up from that. People expect those prices of you and will take advantage.
Lucy: Ask them what their budget is. It's difficult to price jobs because everything is so different. Is it an individual or a organisation? Can you deliver in the time that would take to fill that budget? Is this also something that would work for your portfolio? So many factors to consider. Worth asking about a budget though - the figure might be more than you expected. Theres guidance on charging for illustration commissions through the Association of Illustrators. If you're a member you get access to business. They have a lot of resources and you get membership discount if you're a student and extra discount as a University of Cumbria student. They also help with copyright and limited edition prints etc. Queries and industry perspective.
https://www.creativeboom.com/tips/tips-on-how-much-to-charge-for-freelance-work/
https://theaoi.com/
How did you get to joining an agency?
Lucy: I was approached. An agency can present your work in front of clients that as an individual you might not bave been able to do so easily. They also deal with the money and commission side of things so you can enjoy the drawing bit.
Do either of you check Insight on Instagram much? Should we also post at a certain time of day?
Vince: I look sometimes. If something is doing particularly well, I look into why. Time of day - yeah I do that. Lunchtime or 5pm because that's when people are most likely on their phone.
Lucy: I am rubbish at social media. I know all of the things I should be doing. I do see the benefit of it, because I see website orders after I post on social media. It could be a coincidence but it also couldn't. You can also set it up posting in advance.
Is it neceesary for people to show their personality so the audience know the person behind the work?
Vince: My target audience is small local businesses and I'm running an eco-friendly studio, so I think the client or possible clients knowing who I am and my interests - that's really important for them to know who I am, and what I do, for our connection. Things that I shout about - walking, cycling, being eco-friendly, they can see I'm the right person for this job. But it isn't the same for everyone.
Lucy: Knowing your audience is important. If you are putting yourself out there as a professional, then you're creating a brand, and that brand is you. It almost goes back to semiotics - everything that you put out there is coming back to your brand - so be thoughtful about that. If you were to go through John Lewis' Instagram feed - there would be a tone of voice that is consistent. That would be their brand. The things they post, the language they use when talking about their product, the stylised photographs they might use - it's all part of their brand. If you're a profressional, you are your brand. This is the work I create and this is the activity I like to get involved in.
What's your advice for just after graduating?
Vince: Don't stop reading and learning, the education has stopped but you haven't stopped learning. You are more valuable than your work. Do not let yourself become stagnant. Charge more [money]!!
(My Question) How do you self-motivate yourselves creatively during lockdown?
Vince: Pick something you want to do and do it. "What can I do today?" - Even if it's not something I'd ever put in my portfolio, what can I do and document? I lost my job during lockdown so it's just been me creating things for me.
Lucy: Sometimes you have good days, sometimes you have not so good days - and that's fine. I've always got 101 ideas and knowing which one to focus my time on can be my biggest challenge.
What are some good options for communicating with clients that don't have much understanding about design?
Vince: Reference things people already have an example of understanding. Don't treat anyone like they don't understand, they probably have a relevent knowledge of things, so just make reference points and communicate calmly and professionally.
Lucy: Talking openly and about your decision making process, and why you're making these decisions, can help the client to understand your process or the subject. Talking through things is helpful.
How do you approach a client? (A point of contact)
Vince: It probably comes down to confidence for me. Saying, "I can do this for you." It's not about being arrogant, but "if you need someone to do something, I believe I can do it." Not "I can do it better." I applied for a position that on paper I didn't qualify for, but in the cover letter I said "hey, I'm not this level of a designer to officially have this role title, but I have these skills," and they took me on.
Lucy: Confidence yes. And self-belief. You have some real skills to offer after graduating, and it just takes a bit of bravery to put yourself out there.
How do you seek out and find opportunites in the professional world?
Vince: My opportunities have come from recommendations recently.
Lucy: My work is self generated so a lot of my prints are inspired from my own experiences out in the wild. For me its about approaching small to medium sized businesses to see if they would be interested in stocking my products. I'm not looking for commissions but I am still approaching small businesses. "I see you sell postcards. Here's mine!" I have created a catalogue of my products. I go about finding shops and nature based organisations that would support the type of work I make both in content and if they sell homeware/decor etc. Finding out who makes the decisions and trying to speak to them directly, and following it up with an email and my product catalogue. And see if it generates business. Sometimes it does, like they would take a trial of a dozen postcards and then if they sold they would come back for more. During Covid it's not the time to be making phonecalls, but pre-covid, yes, you'd make the calls. Samples, expenses, when theyve taken some stock - check 2-3 weeks later how they're doing, and if theyd like to make a repeat order. This is an illustration direction rather than the traditional editorial illustration commissions.
Vince: A friend of mine that graduated at the same time as me, Rachel (presumably Rachel Tunstall,) sends her work to art directors often and she's constantly revisiting them. There must be a lot of rejections and no emails back but she has landed a lot of great jobs. It's a lot about persistence.
Are there any situations where you would say no to a client? And if so, why?
Vince: Yes, only recently. Someone approached me, so I gave them a quote and they said, "I can get that for cheaper." So I sent back a :). Couldn't be dealing with that.
Lucy: No, I've been fortunate. I haven't had to say no to a client.
Jim: Dwayne, have you turned down clients?
Dwayne: I don't think I have. I've been lucky, but I would be okay saying no if I thought it was distasteful or against my preferences.
Vince: Jim taught me, "no is the most valuable word."
Vince: If anyone has any questions, I'll help out in anyway I can. Just message me on Instagram or send me an email if you need advice.
Lucy: Same for me. Just send me an email if you have a question... I don't check social media much. Just drop me an email and I'll happily answer any other questions.
*These are not exact responses, just my notes of generally what the artists said.
Getting a book published or self-publishing?
Lucy: I recommend the writers and artists yearbook. Particularly good for childrens publishing. There's also a lot of contact details of UK and overseas publishers, and how to get in touch with them. Also has information on submissions. Even if they arent taking submissions you can send it to them anyway. I published and sold my book through my website. Used a printing company (and for lots of other print jobs, books, postcards etc.) "ISBN" is needed to sell through third party (e.g. Waterstones) so I self published. I lay out everything myself and then upload the print ready PDF to the print company, and choose the page number and the finish. Its useful to be able to do know how to do this right. I used mixam.co.uk.
How much do you charge for commissions? Where do you start? How do you work out when to get enough confidence to raise commission prices?
Vince: I plucked a price out of the air to start with and spoke to a friend after that first job and I was told I was undercharging. I then started looking at other people's prices. There's 2 ways of charging people: 1. Hourly basis - and I'll be as transparent as I like. I charge £35/hour right now but I'm planning on raising it. 2. A rounded price - e.g. £500 for the whole job. Most people dont seem to like the hourly fee because we go back and amend things. You can overcharge and be told you're overcharging and come down from it, but once you undercharge people it's much harder to come up from that. People expect those prices of you and will take advantage.
Lucy: Ask them what their budget is. It's difficult to price jobs because everything is so different. Is it an individual or a organisation? Can you deliver in the time that would take to fill that budget? Is this also something that would work for your portfolio? So many factors to consider. Worth asking about a budget though - the figure might be more than you expected. Theres guidance on charging for illustration commissions through the Association of Illustrators. If you're a member you get access to business. They have a lot of resources and you get membership discount if you're a student and extra discount as a University of Cumbria student. They also help with copyright and limited edition prints etc. Queries and industry perspective.
https://www.creativeboom.com/tips/tips-on-how-much-to-charge-for-freelance-work/
https://theaoi.com/
How did you get to joining an agency?
Lucy: I was approached. An agency can present your work in front of clients that as an individual you might not bave been able to do so easily. They also deal with the money and commission side of things so you can enjoy the drawing bit.
Do either of you check Insight on Instagram much? Should we also post at a certain time of day?
Vince: I look sometimes. If something is doing particularly well, I look into why. Time of day - yeah I do that. Lunchtime or 5pm because that's when people are most likely on their phone.
Lucy: I am rubbish at social media. I know all of the things I should be doing. I do see the benefit of it, because I see website orders after I post on social media. It could be a coincidence but it also couldn't. You can also set it up posting in advance.
Is it neceesary for people to show their personality so the audience know the person behind the work?
Vince: My target audience is small local businesses and I'm running an eco-friendly studio, so I think the client or possible clients knowing who I am and my interests - that's really important for them to know who I am, and what I do, for our connection. Things that I shout about - walking, cycling, being eco-friendly, they can see I'm the right person for this job. But it isn't the same for everyone.
Lucy: Knowing your audience is important. If you are putting yourself out there as a professional, then you're creating a brand, and that brand is you. It almost goes back to semiotics - everything that you put out there is coming back to your brand - so be thoughtful about that. If you were to go through John Lewis' Instagram feed - there would be a tone of voice that is consistent. That would be their brand. The things they post, the language they use when talking about their product, the stylised photographs they might use - it's all part of their brand. If you're a profressional, you are your brand. This is the work I create and this is the activity I like to get involved in.
What's your advice for just after graduating?
Vince: Don't stop reading and learning, the education has stopped but you haven't stopped learning. You are more valuable than your work. Do not let yourself become stagnant. Charge more [money]!!
(My Question) How do you self-motivate yourselves creatively during lockdown?
Vince: Pick something you want to do and do it. "What can I do today?" - Even if it's not something I'd ever put in my portfolio, what can I do and document? I lost my job during lockdown so it's just been me creating things for me.
Lucy: Sometimes you have good days, sometimes you have not so good days - and that's fine. I've always got 101 ideas and knowing which one to focus my time on can be my biggest challenge.
What are some good options for communicating with clients that don't have much understanding about design?
Vince: Reference things people already have an example of understanding. Don't treat anyone like they don't understand, they probably have a relevent knowledge of things, so just make reference points and communicate calmly and professionally.
Lucy: Talking openly and about your decision making process, and why you're making these decisions, can help the client to understand your process or the subject. Talking through things is helpful.
How do you approach a client? (A point of contact)
Vince: It probably comes down to confidence for me. Saying, "I can do this for you." It's not about being arrogant, but "if you need someone to do something, I believe I can do it." Not "I can do it better." I applied for a position that on paper I didn't qualify for, but in the cover letter I said "hey, I'm not this level of a designer to officially have this role title, but I have these skills," and they took me on.
Lucy: Confidence yes. And self-belief. You have some real skills to offer after graduating, and it just takes a bit of bravery to put yourself out there.
How do you seek out and find opportunites in the professional world?
Vince: My opportunities have come from recommendations recently.
Lucy: My work is self generated so a lot of my prints are inspired from my own experiences out in the wild. For me its about approaching small to medium sized businesses to see if they would be interested in stocking my products. I'm not looking for commissions but I am still approaching small businesses. "I see you sell postcards. Here's mine!" I have created a catalogue of my products. I go about finding shops and nature based organisations that would support the type of work I make both in content and if they sell homeware/decor etc. Finding out who makes the decisions and trying to speak to them directly, and following it up with an email and my product catalogue. And see if it generates business. Sometimes it does, like they would take a trial of a dozen postcards and then if they sold they would come back for more. During Covid it's not the time to be making phonecalls, but pre-covid, yes, you'd make the calls. Samples, expenses, when theyve taken some stock - check 2-3 weeks later how they're doing, and if theyd like to make a repeat order. This is an illustration direction rather than the traditional editorial illustration commissions.
Vince: A friend of mine that graduated at the same time as me, Rachel (presumably Rachel Tunstall,) sends her work to art directors often and she's constantly revisiting them. There must be a lot of rejections and no emails back but she has landed a lot of great jobs. It's a lot about persistence.
Are there any situations where you would say no to a client? And if so, why?
Vince: Yes, only recently. Someone approached me, so I gave them a quote and they said, "I can get that for cheaper." So I sent back a :). Couldn't be dealing with that.
Lucy: No, I've been fortunate. I haven't had to say no to a client.
Jim: Dwayne, have you turned down clients?
Dwayne: I don't think I have. I've been lucky, but I would be okay saying no if I thought it was distasteful or against my preferences.
Vince: Jim taught me, "no is the most valuable word."
Vince: If anyone has any questions, I'll help out in anyway I can. Just message me on Instagram or send me an email if you need advice.
Lucy: Same for me. Just send me an email if you have a question... I don't check social media much. Just drop me an email and I'll happily answer any other questions.
4th March 2021
3.2 An Audience With... No.1
Lucy | Vince
Questions for Lucy:
How do you choose your colour palettes?
How do you choose your illustration brushes and textures?
Questions for Vince:
What kickstarted your passion for making graphic design green?
You seem to take great care when presenting yourself on social media. Where do you think the line is between showing your personality and being professional?
Questions for Both:
How do you price your prints and commissions?
Do you have any tips for maintaining a healthy work/life balance for doing freelance work/commissions, and then also personal work?
How do you maintain a consistent style of working while still allowing yourself to experiment and grow as an artist?
How do you go about printing a commission since most studios seem to print in mass?
How do you personally maintain creative motivation in lockdown?
Questions for Lucy:
How do you choose your colour palettes?
How do you choose your illustration brushes and textures?
Questions for Vince:
What kickstarted your passion for making graphic design green?
You seem to take great care when presenting yourself on social media. Where do you think the line is between showing your personality and being professional?
Questions for Both:
How do you price your prints and commissions?
Do you have any tips for maintaining a healthy work/life balance for doing freelance work/commissions, and then also personal work?
How do you maintain a consistent style of working while still allowing yourself to experiment and grow as an artist?
How do you go about printing a commission since most studios seem to print in mass?
How do you personally maintain creative motivation in lockdown?
3.2 An Audience With... No.1
4th March 2021
Online Lecture II
Meeting tonight 7pm here on GRAP6040 Collaborate.
Graphic designer Vince Walden and illustrator Lucy Hadley.
They're coming to respond to our questions, they haven't prepared a presentation.
What questions do you have about going into industry?
"An audience with" questions padlet. Write your questions on here.
First task - research their work, piece together who they are and what they're doing.
Take notes here of the questions you ask and what the answers are.
Today's Brief
1. Review the websites of both practitioners (links on the 3.2 page). You're not looking to see if you 'like' their work but rather trying to identify how each has packaged themselves and their work.
2. Compile a group question board which can be used in...
3. At 7pm this evening we will be joined, via Collaborate, by both Vince and Lucy. Over the course of an hour or so, you'll have the opportunity to ask questions of each practitioner (hence above).
4. On your GRAP6040 webpage, take notes of significant answers and insight as well as your own thoughts.
Meet back at 2:45pm today with what questions we all have.
Graphic designer Vince Walden and illustrator Lucy Hadley.
They're coming to respond to our questions, they haven't prepared a presentation.
What questions do you have about going into industry?
"An audience with" questions padlet. Write your questions on here.
First task - research their work, piece together who they are and what they're doing.
Take notes here of the questions you ask and what the answers are.
Today's Brief
1. Review the websites of both practitioners (links on the 3.2 page). You're not looking to see if you 'like' their work but rather trying to identify how each has packaged themselves and their work.
2. Compile a group question board which can be used in...
3. At 7pm this evening we will be joined, via Collaborate, by both Vince and Lucy. Over the course of an hour or so, you'll have the opportunity to ask questions of each practitioner (hence above).
4. On your GRAP6040 webpage, take notes of significant answers and insight as well as your own thoughts.
Meet back at 2:45pm today with what questions we all have.
3.1 First Contact
25th February 2021
Online Lecture
Making contacts in the industry.
No art cv this time. Aim for function rather than showing off. Let your illustration work do the showing off, but let the CV be functional. They can still look beautiful, but the way it looks shouldn't be put in front of what it does. Be to the point, don't try to be too clever.
First contact - Advice
Creative Lives - In Progress. Up to date, personal information, a page called "Making Connections". Pretty much is this moldule and answers all your questions. Helps you do what you need to do. Read through this page. There are 4 parts.
The Blackboard interactive board for First Contact Advice - Share what you think here.
Remember that there is a questionnaire on the Professional Practise homepage that you can ask questions to. Have a think about what you would want to ask. Dwayne is currently planning visits for guest speakers. Might be outside of normal class hours (e.g. 6pm.)
Additional pro-tip... Don't make spelling mistakes.
- Emails
- CVs
- PDF Portfolio sample
- About page on website
No art cv this time. Aim for function rather than showing off. Let your illustration work do the showing off, but let the CV be functional. They can still look beautiful, but the way it looks shouldn't be put in front of what it does. Be to the point, don't try to be too clever.
- Research
- Create a CV for inclusion on your website/to be mailed out
- Create industry facing 'about' page on your website (Targeted at the industry, the information is for them)
- Research and compile contact details for those that you would like to get in touch with. This is not companies, but directly to the art editor or art director or whoever it is. Don't actually have to make the contact right now... But of course that would help with getting a job.
First contact - Advice
Creative Lives - In Progress. Up to date, personal information, a page called "Making Connections". Pretty much is this moldule and answers all your questions. Helps you do what you need to do. Read through this page. There are 4 parts.
The Blackboard interactive board for First Contact Advice - Share what you think here.
Remember that there is a questionnaire on the Professional Practise homepage that you can ask questions to. Have a think about what you would want to ask. Dwayne is currently planning visits for guest speakers. Might be outside of normal class hours (e.g. 6pm.)
Additional pro-tip... Don't make spelling mistakes.