<![CDATA[erinretson.co.uk - PPHIDDEN]]>Sat, 07 Sep 2024 11:59:17 +0100Weebly<![CDATA[The Printed Peanut Live on Instagram]]>Fri, 30 Apr 2021 21:00:27 GMThttp://erinretson.co.uk/pphidden/the-printed-peanut-live-on-instagramOn the 29th of April 2021 The Printed Peanut (Louise Lockhart) had an Instagram live with Inkygoodness talking about their career and business.
  • Journey - studied illustration at GSA, found that there are no set jobs for illustrators for when you finish, lived in Vancouver Canada for a year worked at a stationary store. Pre Instagram realised that they could apply their work to products so set up screen print at home. Had no insight to the business side, was in the deep end starting out, decided to sell traditional party games with a twist while living abroad. Wanted to do it full time, first year was difficult, started creating packaging for soap for a friend. Had to show she could do the work to get the work, even with no experience just set up projects for yourself. Came up with the Printed Peanut which led to work, has created a brand for herself, appears as a team but really it is just one person behind the name.
  • Pivotal Moments - was really tough at the start, did everything they could to get money, stayed at home with parents to not have to pay too much rent, went around shops with business cards. You have to promote yourself to get work, may feel awkward/unnatural but it is necessary. Small things can lead to bigger opportunities, can be a case of right place right time.
  • Clients - 7 years on wants to do more personal work and slow down due to being a parent, like how art school was, when you leave you end up doing work for a purpose not for yourself. 2015 did book illustrations led to doing more books, a play tent for anthropology. Stick to your values/morals, keep to your style don’t follow trends, find something that is authentic to you, do what is a natural output to you, your style has more longevity than following the fashionable style at the time, use similar themes.​
  • Work Week/Day - now 2 hours a day because of being a parent, have to work when they are asleep, no other time to do it, don’t want to be too successful keep the business small/manageable, just enough to work from home and take time off when they want. Outsources products now to save time, used to print them herself.
  • Projects - timescale can be 3 months when was able to work full time now same sort of project could take a year, took 10 years to get to where there are with work/style, had luck getting projects. It is about being prepared/consistent to get work, don’t know what small thing will lead to another opportunity, used to say yes to everything, set projects for yourself.
  • Online Brand - felt pressure of it, can be hard at start, need to get known a bit before work/income comes in, learnt about it on the way, has an accountant to help, talk to other illustrators/ people for advice, look at what other similar people are doing, took a long time to get where there are now, in a place where she knows what products/ materials/ methods work for her.
  • Pandemic Effects - used to do workshops/ fairs, maybe do zoom online workshops now, might try selling prints in a gallery.
]]><![CDATA[An Audience with Frances Moffatt & Nick Holmes]]>Thu, 22 Apr 2021 12:22:41 GMThttp://erinretson.co.uk/pphidden/an-audience-with-frances-moffatt-nick-holmesOn the 22nd of April 2021 the university held a talk with illustrators Frances Moffatt and Nick Holmes. Both have been involved with education, Moffatt is known for fashion/lifestyle/publishing illustrations and Holmes has done a variety of work such as advertisement/film/editorial/publishing.

Frances Moffatt 

  • Opportunities - Reiterate same as Nick, when you start out you just need one/two clients to get work coming in, used Artists & Writers book to find clients to contact through email/telephone/mailed postcards, don’t expect to hear back, had maybe a 2% reply rate, other clients may keep you in mind get back in contact years later.
  • Social Media - not fully into it, better to have other media like Twitter/website not just one, don’t expect/wait to be found this way need to email clients to make yourself known that way.
  • Self Authorship - some published books started out on Kickstarter, self publishing more accepted/available to do now or a way into publishing, have a level of professionalism and find your creative voice, be defined about what your work is and aimed at, be specific to what work you want to get.
  • Client Work - previous contacts can ask you do work for them, accept projects you might have not originally considered can learn from it, but also don’t scatter everywhere, have a niche that you fit into but can branch out to other work as well. Your portfolio is important to showing to clients what you can do, if you don’t have a certain type of illustration in it they will assume you can’t do it when maybe you can, it lets them know what you are capable of doing. 
  • Negotiating - at the start was just grateful to get work so said yes, if accepted too low ended up being resentful, has an agent but left after a year not enough money coming in, a day rate helps, don’t be paid under minimum wage. You don’t have to take every job if you can be stable financially, have a part time job/keep outgoings low/multiple incomes so you can say no to poorly paid work, have a five year plan and give yourself time to establish yourself. Editorial is low pay at start, publishing the same, only when you start getting a name for yourself, advertising is better pay.

Nick Holmes

  • Opportunities - some out of nowhere, making yourself known to others, right place right time, just be pleasant to work with, people will gravitate towards you, small things can lead to bigger work, work hard at the beginning to hopefully pay off and not have to chase for work.
  • Social Media - be aware of mental health, use it in a way that benefits you, Instagram more up to date stuff shows how quickly/effectively you work, don’t apologise for not posting. Twitter good for discussion, not as image based, show your personality, more opportunities for interaction on Twitter.
  • Self Authorship - have more self directed work to keep you moving, don’t stagnate, people use Kickstarter to self publish work or passion projects, you have to grow your work organically and build up a brand. Kickstarter- have to plan, know costs/shipping it is hard work, mostly international sales, know what people want from the work/project.
  • Client Work - need to be convinced/faith you can do the work and be able to work with you in a professional manner, who you know does help, advertisement biggest payer but takes a lot of work, can be exhausting.
  • Negotiating - know your worth, don’t be undercharged, go higher and be confident with it, if they offer too little project not worth your time anyway, AOI again can help with aspects of this.

Take Away Thoughts 

Like with the previous talks getting work is about putting yourself out there and going direct to the clients, they are unlikely to just find you through a website or social media no matter how many followers you have. Also I found it interesting how they spoke about how it just takes a few projects to lead to more work and how it is important to have an income coming in so you can say no to low paying work and to not feel bad about it.
]]><![CDATA[Freelancing in a Web Based World with Jamie Green]]>Wed, 21 Apr 2021 09:41:29 GMThttp://erinretson.co.uk/pphidden/freelancing-in-a-web-based-world-with-jamie-greenOn the 17th of April 2021, INKFEST Chicago run by ISG Columbia held a talk with illustrator Jamie Green. Green is someone I have been following for a good number of years now and they have been able to use their presence online to create a career for themselves straight after graduating through hard work.
  • Journey - Used flipnote hatena on DSi (I absolutely loved using this when it was active) , deviantart in early days to post work. Time at art school explored everything they could, took any opportunity they could find. But looking back put too much pressure on themselves, wished they had been easier on themselves and not be expected to pick one thing to do. Yet is fortunate for how things have worked from that. Realised you don’t have to pick and stick with one creative path, you have time to try anything your curious about because life is unexpected. Thought that they would be working for an Ad company, saw it as what a career felt like after doing an internship at the art school. Was applying for these types of jobs then COVID happened and threw a wrench in this and graduation. So ended up deciding to go freelance, was able to do so with following on social media, then contacted to join an agency so said yes and has led to doing book Illustrations.
  • Growing Audience - Has been present on the internet since they were 12, and has moved from platform to platform to post work. Voice = what is unique to you, identify and brand yourself, be authentic, audience “listen when they see your sound”. Algorithm = it does have an impact/ increases engagement, but can put pressure/ stress/ anxiety on mental health, don’t do it it if not able to efficiently use it, have to find the balance using it to benefit yourself not to make you feel worse. Trends - use drawing challenges/ drawtober/ huevember etc. to try out new things, find other artists through hashtags, in turn they can find you, be creative in what you post, people like memes/ current shows/films etc. Luck = honest truth, it is random who gains a following, just use social media as a space to enjoy. Recently has dropped off Instagram a little bit, there is too many widgets, feels like a chore to post and keep up with posting every few days, in position to do so however with following and work.
  • Patreon - truth you need to have a following/ prior audience, but don’t be discouraged. Tailor it to what the audience want, interact with them, it is gives them a look into your personal life/thoughts, stuff you wouldn’t show on social media for free, it is an extra source of income, don’t be anxious about adjusting/ changing things with the tiers it needs to suit your needs.
  • Agent - initially considered it with Ad agencies, found links to agents through other illustrators, left behinds (physical fold outs/ business cards) at places visited. Was found by Chad Bekerman through SOI competition work, but had no book Illustration examples in portfolio so had to create some, don’t make it hard for the clients/agents to figure out what you do as an illustrator. Did have client work in portfolio but no book work, had to learn about it through own experience like scenes/ environments/ storytelling, composition is like a moving film. Make your portfolio professional, set your own projects for what you want to do if you have no client work it isn’t essential to have paid work. Emails are good but can get lost, so brand them, make it different from others, set yourself apart from everyone else in the mosh pit to come out on top, physical things can help in this way if you are able to.
  • Freelance - at start schedule was all over the place so takes time to figure out a realistic way to work, sleep schedule important, works 6-7 days a week but averages 30 - 45 hours a week, depends on workload, can leave things last minute to have pressure to do it/ last minute decisions otherwise would have second guessed, but that doesn’t mean you should! Still don’t feel like they are working enough at times just want to play Stardew Valley or do something else. Balance is key, do work but leave time for fun stuff too, have business hours, don’t respond outwith them, switch projects up so it doesn’t seem to drag on. Can be isolating working freelance, going to cafes to work helps with that.
  • Motivation - try and boost your confidence, do what you love to draw/make, go for a run or walk, silly little things, authenticity is important, there are days of feeling crap/ not getting work done just take a break, do something else. Set goals/ deals with yourself, doesn’t always follow them. Can be an endless cycle of comparing ourselves to other. Has life goals rather than works goals, focus on that spirit/ side of life, they dream of having a farm with some chickens (yeah I want that in life too to be honest!)

Take Away Thoughts

Green is someone who I have seen constantly grow and learn from everything they could find. They have always been open to new things which I think is important as a creative, it can get dull or too consistent if you do the same thing all the time, and you can’t learn from what you already know. It took them over ten years to get to where they are now from using the internet as a way of showing their work and it paid off in the end for them to do what they have done. We may be the same age and it can be hard sometimes not to compare myself to them in terms of what they have achieved, but I think there are so many paths in being able to make a career out of illustration I just need to continue on my own and take any advice I can get on board to get where I want to be, hopefully! Social media has been key to them getting noticed and I am just wanting to use it as something to post work and not worry about analytics things too much,
]]><![CDATA[An Audience with Jill Calder & Sarah Coleman]]>Thu, 15 Apr 2021 13:37:21 GMThttp://erinretson.co.uk/pphidden/an-audience-with-jill-calder-sarah-colemanOn the 15th of April our university held a talk with illustrators Jill Calder and Sarah Coleman. Jill has created illustrations for publishing/editorial/advertisements and Sarah is known for her typography work on books/advertisements/editorial pieces.

Jill Calder

  • Contacting clients - find clients through social media, art director’s are tagged sometimes in illustrators posts etc. follow them/find their contact information, better to contact them this way than through contact information on website, clients can find your work through social media/use specific hashtags, have to show yourself/life to an extent as people like seeing those aspects as well, just start contacting now.
  • How they got into picturebooks - only recently fell into it through doing the Robert the Bruce book, learnt along the way and from the SCBWI , takes a year or less for completing a book.
  • Agencies  - majority of work through them, they take 30 - 33%, built up client life before getting an agent though tried after graduating, it is a relationship you have to communicate with them can’t just expect them to do everything, talk to them about what clients/work you want so they can help.
  • Negotiating - AOI can be helpful, have to learn the business of it, keep a lower sum in mind but go higher to meet in middle, not an equal relationship if they ask for free work/they are probably being paid why shouldn’t you?, don’t be taken advantage of.

Sarah Coleman

  • Contacting clients - go out hunting for the director’s, don’t wait until graduating, make contacts, they still like seeing physical printed stuff, don’t expect any response they will contact you if they want to, doesn’t mean they don’t like your work, she had contacted one person took 8 years for them to respond as they only got a project suitable until then, no correct way. When email only use a link not attached images, can be marked as spam/ junk, send images if they ask. Have key pieces in portfolio that bring clients in, some paid work unhappy with the outcome the client chooses, while personal work more happier with.
  • How they got into publishing - asked to do a cover when at university, was used without her knowledge, did hand lettering which wasn’t a thing done much in the industry at the time, a cover can take 4 - 8 weeks.
  • Agencies  - work 60% through agent and 40% them self, didn’t want an agent at start, felt like she had nothing to offer them, 13 years of work then approached, “it doesn’t matter how bad the news is as long as the client knows what is going on”, there to enhance not replace the work, advice get experience first then get an agent to show you can work with clients/deadlines, the agent negotiates to get more money as it is in their interests, they take about a third of pay so you have to keep that in mind you want to get as much money as you can in the early days.
  • Negotiating - you need to cover your life costs, not the minimum but the fees should reflect the life you want/ need to live into later life. Your fees should go up with experience and demand for your work, some set prices are for editorial/ packaging/ publishing. 

Take Away Thoughts 

It was really insightful hearing about how to go about contacting clients, that you need to go to the art director to get the best response and not through contact information on websites of the company they work for. Also I think emailing is still the best way to contact, as again if you print something that costs money/ more time, even if they do like seeing physical work it is wether you can afford to do so. Both of them saying about the agencies and having them later on in their careers puts it into perspective how it is probably better for myself to contact clients and get experience first. Though I think I still might contact agencies now and just expect nothing back. Katie Chappell had a goal of getting 100 no/rejections in 2019, which is something that I think will make it “easier” when I start sending emails out, it is a way of not getting disheartened and also as Sarah said no response or not yet as a reply, isn’t always a bad thing as they could come back to you later on.
]]><![CDATA[An Audience with Aimee Stewart & Sarah Habershon]]>Thu, 25 Mar 2021 09:17:04 GMThttp://erinretson.co.uk/pphidden/an-audience-with-aimee-stewart-sarah-habershonOn the 25th of March our university held a talk with Aimee Stewart and Sarah Habershon. Aimee is a graduate of the university, now a senior designer at Scholastic, and Sarah is art director for the G2 feature in the Guardian.

Aimee Stewart

  • What is important to children’s books - where it is marketed, needs to work as a small image online, stand out on a supermarket shelf be commercial, the illustrator and branding important, start to finish usually 2 - 3 months sometimes 1 month or a year for picture books.
  • Finding illustrators - look on Instagram through hashtags, use them in a specific way, style important doesn’t matter too much for mock ups, ask for a sample if they don’t have any examples (not paid) them would be commissioned, look for right illustrator for right project. Look for both digital and traditional illustrators, picture books more traditional work. Use freelance designers/ typographers for their skills as they have a small team.
  • Digital/ physical folios - Instagram current/ up to date, go to agencies to find illustrators, can’t reply to all emails, keeps a library of illustrators found from all various random finds. Physical folio less important yet printed folio got her the job at scholastic from D&AD event, lucky in right place at right time. Print still counts to an extent, interviews they brief a product for second round, digital more accessible to find/ connect.
  • Pricing - have set prices, but can negotiate with illustrators or agencies, meet in the middle.
  • Comparison of graphic designers and illustrators - similar in practice, both need knowledge of composition/ layout.

Sarah Habershon 

  • Finding illustrators - keeps an eye on agencies, looks through emails but can’t respond really, may reply a year later if the work is right for the article, Instagram useful notice people that follow/like, it is more quicker to look at and most up to date compared with website, look through hashtags, put illustrators in folders with specific subjects (woman/environmental issues, colours, bold etc.). LinkedIn not as useful but uses it sometimes. You need someone to find you website (actively search for it maybe?), use illustrator in the subject of email make it straight to point of why emailing, become on their radar through social media.
  • Digital/ physical folios - Looking for illustrators that can tackle subjects, on website under image use short line to say what the work is for/about, can go a long way in informing the person how you work/think. Little printed folios, quicker turnaround, mostly digital, no time to meet in person, but it is like a treat to see physical work now.
  • Pricing - set prices, small budge, fair to all illustrators no one get more/less.
  • How often commissioning - not every week, budget got less so less commissions, use photography where possible, only illustrators for more abstract subject matter, illustrators can have 4 days from starting to finishing the project.
  • What puts you off working with illustrators - give them a try, if they have an arsey attitude won’t work again, but it doesn’t happen much, there is always someone else if that is the case, best to be collaborative, relationship important. Put yourself in the shoes of us.

Take Away Thoughts

It was interesting to hear from the clients view point and how they find illustrators through not just emails/ agencies but by looking through Instagram as well. Also how they keep in mind illustrators they have seen for a project say a year later they might contact them then.
]]><![CDATA[Vivien Mildenberger Q&A on Instagram]]>Thu, 18 Mar 2021 18:41:55 GMThttp://erinretson.co.uk/pphidden/vivien-mildenberger-qa-on-instagramOn the 18th March Vivien Mildenberger answered questions on the Bright Agency US Instagram and I took some notes from what she said as it was interesting to hear about.
  • How did you start with Bright Agency - was contacted to join, never submitted to them felt work wasn’t good enough, advice would be do apply if you have a portfolio as you never know, you are your own worst critic.
  • Start of career - did odd jobs, sold ceramics, joined the agency started getting work for books. Do lots of personal work, keep growing/ learning/ pushing your work further, will lead to work if you are excited about your work.
  • Making work for representation - be prepared/ get you portfolio ready, be critical about your work see what you might need to start/ stop doing, Look at your portfolio as of it is already part of an agency you want to join, how does it compare to the other portfolios do you need more children/ animals etc. in your work? What is your work missing that they have?
  • Advice to younger self - slow down, you don’t have to finish work faster, she would comprise work to meet a deadline. Take the time to get the work how you want it to be, comes with experience.
  • Burnout - struggle with it, especially during pandemic, take a break if you need it, don’t need to create everyday. Sometimes just start, do a little doodle/sketch, challenge yourself do something that motivates you.
  • Portfolio - create work for the right clients you want, editorial = an abstract idea, children’s books = storytelling. Ask for feedback, reach out to someone you know.
  • Patreon - wanted a chill, laid back space, able to show work everyday, Instagram more of a portfolio these days. Have lots of little avenues for income important for freelancers. 
]]><![CDATA[An Audience with Hazel Mason and Rachel Tunstall]]>Thu, 18 Mar 2021 18:36:04 GMThttp://erinretson.co.uk/pphidden/an-audience-with-hazel-mason-and-rachel-tunstallOn the 18th of March 2021 our uni held a talk with graduates Hazel Mason and Rachel Tunstall who both have worked with editorial clients.

Hazel Mason

  • How long after graduation to get work - had small magazine/ editorial commissions soon after, lucky to be followed up by client from London graduates exhibition.
  • Portfolio development - through spec work, self based work helps you develop, picked a book not already illustrated and do work for that.
  • Getting clients - looked at other illustrators what clients they are getting/ portfolio, commissions from Instagram was contacted by the clients this way.
  • Approaching clients - Nothing came from physically sending out samples/ examples of work, emailing 4 - 5 low res images, be direct not vague, go to the editors/ publisher names more personal.
  • Working with clients - send initial 3 ideas/ thumbnails, gravitate towards the one you want to do, confirm it then start work. Be polite, if known them for 2-3 years can be less formal as friendship develops, figure it out after awhile.
  • Pricing - Work part time 3 - 4 days a week/allows time to do freelance work. With clients set prices so figure out hours + minimum wage + £10ish, go higher so they bring it down less, be appropriate with pricing for the client so smaller business less money, bigger client means more, some clients have added more money to initial proposals.
  • Agencies - not looking for one, getting by with client work, would rather build up a portfolio then look for a better agency to join rather than an agency that is not suited for your work.
  • Social Media - post later on 6 - 8pm, important to get engagement in first hour = Instagram, store online small, do it from home if you can afford to.
  • Kickstarter - wanted to print more than what she could afford, easy to fulfil an end product, had help with packaging and bulk bought envelopes, printed out addresses on stickers, be prepared for it.

Rachel Tunstall 

  • How long after graduation to get work - took 6 months for first paid commission, wasn’t happy with work so built up portfolio then sent to clients.
  • Portfolio development - found articles to create work for, improve on it when you can, Olly Hurst example?
  • Getting clients - looked at other artists on social media, what clients they were creating work for, track them down email the editors etc.
  • Approaching clients - Nothing came from physically sending out samples/ examples of work, email every 3 months, check out Sonny Ross contacts list layout use it to file who you are contacting/ want to contact. Email be keen to work with them and their themes, be specific in what you say/ brief but approachable, say to have a look through you work, send examples.
  • Working with clients - Composition then colour then final, depends on client however, Shopify no colour rough because of time scale/ deadline, if any major changes just check in with client. 
  • Pricing - Works another job, no option for changing price in editorial, either yes or no, they have a set budget. Want to get into publishing, just have to find time to make work for it. International pay better, American clients easier to work with.
  • Agencies - was getting representation unsure of it, nothing coming from it. AOI was useful to begin with but stopping the pricing structure help, no longer that useful. 
  • Social Media - found Twitter more useful to connecting with people, posts better in evening, LinkedIn not received any work.

Take Away Thoughts

It was insightful hearing from both illustrators and how they have managed to start their careers in getting client commissions not that long after leaving uni. Also it has put in perspective in how they still have part time jobs even thought they have illustration work coming in, something I think is important to have as having a job gives you an income when you might not have client work yet or at a certain time. Also they are getting work through contacts/ emailing themselves rather than being with an agency, as they are learning how to communicate and balance their own work/ pricing.
]]><![CDATA[General Finds]]>Fri, 12 Mar 2021 09:42:04 GMThttp://erinretson.co.uk/pphidden/general-findsHere are some articles/videos etc. that I have found recently and maybe don’t fit into one subject, but apply to general aspects of Illustration.

Articles/ Podcast

Videos

]]><![CDATA[An Audience With Duncan Fegredo and Sean Phillips]]>Thu, 11 Mar 2021 18:43:36 GMThttp://erinretson.co.uk/pphidden/an-audience-with-duncan-fegredo-and-sean-phillipsOn the 11th March 2021 our university held a talk with the comic book artists ​Duncan Fegredo and Sean Phillips.

Duncan Fegredo

  • Best part of job - prefer the story telling side, drawing can sometimes be a grind, can be figuring out how to draw a scene/composition, draw stuff you want to draw so you will want to make it work/ compelling characters, can end up with stories that are not your own have to do stuff you might not want to.
  • Favourite project - Hellboy read the comics, compared as second best within the ‘Geek’ industry/ use top 10s, doesn’t define your worth as artist, weird angles in comic cheat to extent, sitting down simple scenes easiest to draw.
  • Worries working with known names - self doubt, get out of your own head space/ another view of yourself to see positives, social media nightmare/ brilliant at same time.
  • Challenging aspects of work - turned down work didn’t feel like they could do it, saw the final product realised they maybe could have, elements of time an issue for accepting work, vague sketch can see finished piece in head/ close to finished piece only about 70% of what you pictured it to be. (Relate to this, I can picture exactly what I want to create and the reality is never fully what I wanted it to be)
  • How to get into industries - has changed since Fegredo started, basics show what you can do/ variety in your work like composition/ storytelling, internet more useful in contacting companies/ easier to be seen online.
  • Getting inspired - don’t be inspired from one source/ artist you will pick up their bad points, won’t be true to you, repeating what mistakes they have, do what is necessary for the job about the storytelling not style (think this applies to comics, but an aspect true for illustration), communicate and tell an engaging story.
  • References ?? - mostly does it out of head, use mirror now and then, feels like he loses the life if using photographs, becomes too stiff, maybe has regretted it, need a balance between being made up, unreal/ using reference becomes lifeless.
  • Storyboarding - Storyboarding rewarding in the end but learnt on the job/ winged it. You don’t have to be the best artist for it, googled to figure out what to do, need to know how to draw people/ 3D spaces/ lighting, Animation work on key frames, focus on two characters interacting no need for background information. Found out preferred working alone than in a studio.

Sean Phillips

  • Best part of job - Getting paid for drawing, grew up reading comics wanted to do it as a job, own boss, at point in career can pick and choose jobs, a problem solving way of working.
  • Favourite project - Drawing characters you read as a kid Spider-Man/Batman, ending up looking forward to next project while working on one.
  • Worries working with known names - Have to think you can do it, not be down on yourself and worry about things, focus and just get on with the work, easier when he was younger, less comparisons (no internet maybe to do with it?)
  • Challenging aspects of work - End up surprising yourself with what you can achieve with your work, better than what you thought
  • How to get into industries - Before internet less competition, lucky to start out on comics aged 15 through people he met, had no artistic background with family to help. Put your work out there/ you can’t expect it to come to you if you have nothing, takes time to get better and get work, can’t be complacent have to put in the hours, start small/ have another job, have to love drawing, look at other stuff/ have a open, curious mind.
  • Getting inspired - Big mistake to be hung up on style, don’t worry about it, the story is what is important to how to create the work. (I think it is just about being true to you or what certain colours/textures etc. you like using)
  • References ?? - Uses references, photographs/ finds stuff to refer to, you need to know what something looks like to make the drawing work, end up falling back on bank of same poses/ compositions.

Take Away Points

I wasn’t sure what to get out of this talk but it was definitely interesting and I have learnt stuff from it. Comics have been something that I have never read but I think there are aspects of them that I can relate to. The general idea of compositions and storytelling within them are what I am inspired by from them, as well as the more illustrative comics that using interesting textures/ colours. My only interest with the superhero side of comics is probably watching the Batman animated series as a kid. I feel that comics have developed into the video game world where you can actually play out the action elements, like I remember playing the Halo, Fable, Elder Scrolls and Timesplitters franchises and you sort of take on the role of the characters by taking them through the story.
]]><![CDATA[An Audience with Lucy Hadley and Vince Waldon]]>Thu, 04 Mar 2021 14:29:08 GMThttp://erinretson.co.uk/pphidden/an-audience-with-lucy-hadley-and-vince-waldonOn the 4th of March 2021 our university held a talk with illustrator Lucy Hadley and graphic designer Vince Waldon, both graduates from the university.

Lucy Hadley 

  • Self publishing a book - Had to research into how to do so herself. Found that publishers wouldn’t really accept work unless through an agency. Useful book Children's Writers' & Artists' Yearbook 2021 . Published book herself using Mixam printers with a small run, sold through website, didn’t use an ISBN though if selling through third party would need the book to have one. Had to organise the layout and designs herself.
  • Agencies - Was approached by an agency to join, sold work through galleries/shops happy working that way, agency offers her to do more of the work and they show your work to clients/ deal with the commissions/money side.
  • Social media - has accounts but not a full user of it. Understands it’s benefits and audience engagement being important. YouTube account was for fun, using a printed product/drawings and film to make meaningful conservations/ connections. Continued with it after getting requests from schools that were following along.
  • MA Creative Practice - enjoyed it, a continuations of exploring her work. Studied part time, allowing for more time to delve/ focus into a project, reflect on current practice.
  • Lockdown - good/bad days, biggest change always has 101 ideas doesn’t know what to focus on, looked into pattern design, repeat patterns, William Morris.
  • Approaching clients - have self belief in your skills and the bravery to put work out there, just do it!
  • Seeking opportunities - look for art directors, approach small/ medium businesses to sell work. Make contact with them, follow up continue building a relationship with them, ongoing conversations, send samples?
  • Communicating with clients - talk them through your decision making process on what they have said to you, explain why you have done what you have, be helpful not judgemental.
  • Saying no - fortunate to not have had to do so, worked with similar like minded client.
  • Commission prices - ask what their budget is, will impact your quotes, if you really want job will you do it for cheaper? The AOI are useful for pricing and contracts.

Vince Waldon

  • Social media - uses it, looks into insights sometimes, posts at lunchtime/ 5pm. More thoughtful content helps, has some personal life aspects but because he connects with local businesses it helps to get people to know him better.
  • Eco/ ethical side - slightly more pricey products but clients understanding and it is becoming more important.
  • Advice for students - stay keen, keep researching/ reading, don’t stagnate, you aren’t better than your job/ it isn’t the only thing  in your life, if you get more work charge more, don’t under price yourself.
  • Lockdown - lost job, started up own studio, made own projects to keep busy.
  • Approaching clients - be confident in your abilities, ‘I can do this’ not in an arrogant way but that you can do you job, even if you don’t meet all the requirements you can still offer good work.
  • Seeking opportunities - through recommendations/ references from other people you have worked with. Having the persistence to keep trying when getting rejections.
  • Communicating with clients - give them something they can relate or understand, a common point of examples, putting across the brand voice/message. Talk with them professionally and calmly.
  • Saying no - only recently had to being self employed, was asked for a job, sent price, they said they could get it cheaper, replied saying he doesn’t have he time for it.
  • Commission prices - started with undercharging, raised prices as he got more jobs, hourly fees less likely to be can be changed a lot, a rounded fee is more specific and set on. 

Take Away Thoughts 

I have been following Lucy’s work for a while now and it was nice to hear her perspective on the illustration industry and journey into printing a book. I was also aware of Vince’s studio through Instagram and the points he made about not undervaluing yourself in abilities or pricing is something I think is really important. I definitely feel the area I struggle with most is confidence, like if I need to ‘act’ like I am then I will do so, but it is difficult to constantly believe that I could fulfil a career of being an illustrator and that my work is even good enough to sell/ be commissioned for. So it is something I am trying to get better with and not worry about.
]]><![CDATA[CV and Contacts]]>Thu, 04 Mar 2021 10:15:50 GMThttp://erinretson.co.uk/pphidden/cv-and-contactsI have created this cv to try out a way of laying out my experience, skills and education to be easy to read and do the job of simply giving information to the reader. I think it is okay for what it does, it is my first attempt at doing a creative cv and I have tried to keep the element of a normal cv suppling information rather than visuals, as that is what your portfolio is for, to show your art. I have only included my part time job, as I needed to fill the space and it has its pros, but until I have more creative experience to replace it, it will stay. I doubt I will put this on my website for now as it is more of a task to learn from rather than have use for my website. Also education wise I don’t need to list every subject or even include grades from school, I don’t think they are really necessary when you have college grades or a degree, though I might add them in if I change my mind. I would refine it further when I have more time. Notes - it is blurry because for some reason I can’t save the file as an image so could only take a screen shot, and I haven’t included phone number/ address as this is posted online, while in the actual cv I would include the personal information. 
Picture

Contacts

Here are some agencies/publisher’s pages where their contact information is available. I have looked into LinkedIn as well as that is a platform that is made for work and connecting with other people/ clients.
]]><![CDATA[Digital Communication & Networking]]>Wed, 24 Feb 2021 18:56:36 GMThttp://erinretson.co.uk/pphidden/digital-communication-networkingToday with the internet has made communication with getting clients and work more accessible. You don’t have to pay for a portfolio of work to be printed which you would show to people, you can put your work on a website or post to social media for free and it is visible to anyone that comes across your pages. However that eliminates them meeting you in person and vice versa, they can only see the work on a screen rather than in larger print, but with the way society is going it can be more convenient to keep everything digital, and printing something off may not be worth the time and money when there are other options. Also accessibility, it costs money and time to travel to meet others, the fact being that these meetings/events are mostly in cities.

So in my opinion it is better to connect through email or social media to get in contact with those you want to work with, you can be more direct and save time/money on the traditional way of illustrators gaining work. LinkedIn is another good way of finding people as well as connecting, as it is a platform designed for finding work/clients, so contact information is available.

Sources of Advice 

Do I Need a CV?

I would say yes I need a cv for jobs that perhaps are not in the creative industry, as with creative jobs your portfolio/website  becomes your cv, but I think you still need a cv as it is an important element to getting work for certain jobs. I have seen that some illustrators do have a cv/resume on their website, but all have loads of examples of jobs they have done to put down on them while at my stage in my career I have very little to put on it that relates to creative experience. I think the simpler a cv is the better, there as some examples in the links below that I think have too much imagery or colours were it takes you away from the information and makes it appear as an illustration on its own. You can still have a sense of creativity in the cv but I don’t think it needs to be fully illustrated.
​Nottingham University has a creative cv guide which is useful.
]]><![CDATA[Orange Beak Studio Talk]]>Thu, 11 Feb 2021 21:41:09 GMThttp://erinretson.co.uk/pphidden/orange-beak-studio-talkOn the 11th of February Orange Beak Studio held a free talk with three illustrators they have been working with from the start of their children’s picture book journeys. The three illustrators were Ruby Wright, Jen Baranowska and Emma Farrarons. Orange Beak Studio was founded to work with illustrators from graduates to professionals, to help them improve and feel better with their illustrations. 
​

Ruby Wright

  • Wright always had an interest in picturebooks from an early age but it was only after working various jobs and having children that she decided to start thinking about illustrating a book. 
  • Through Orange Beak she was advised to draw everyday, not to use solely black ink and avoid photoshop.
  • This was so she could become confident with other materials and methods, such as screen printing, which to clean the screens she would go to a car wash to use the cleaning equipment!
  • Tips = draw from life as much as possible, invite yourself onto projects you want to do, tell people your daily rate before agreeing to any work, enter competitions to add to portfolio, get inspired from all different sources.
  • Was approached by an agency rather than contacting them.
​​

Jen Baranowska

  • ​Completed a BA but found it too fine art based, went on to work for Ted Baker but didn’t enjoy it, lots of cold calling, created some illustrations that she sent off to Mulberry, which they liked, ended up doing fashion illustration.
  • Started to illustrate more narrative scenes, built up a children’s picture book portfolio, was told that it was good except the “characters just don’t seem believable”.
  • She ended up being advised by Orange Beak to do more observational work, so within a short space of time went through 5-6 sketchbooks using various methods, such as tonal studies and colour blocking then drawing on top.
  • Explored screen printing with Wright while on the Orange Beak retreat, and also really enjoyed it.
  • Comes up with ideas from people saying things in everyday life, uses references from sketchbook drawings.
  • Was runner up twice for Picturehooks competition in summer 2020.
  • Use of colour is what you know, but taking inspiration from other artists palettes, interiors, fashion shows.
  • Struggled with negative space, had to force the white to begin to know how to use it to her advantage.

Emma Farrarons

  • Studied illustration at Edinburgh College of Art 2000, after stopped drawing for a while, worked at publishing house, published colouring books, wanted to get back into illustrating .
  • Farrarons struggled with backgrounds, expressions and was only through Orange Beak she began to draw again, from observation everyday for three years now!
  • At first she felt slow and clumsy, only used pencil or pen, then after being with a friend drawing in a busy nightclub, that she began to draw everywhere, the tube, trains, parks etc.
  • She explored mark making, tone, memory drawing (a bridge to the imagination), sequence images, limited colours (more room to play with), using CMYK, contrasting colours, really looking at the shapes and perspective of the world around us, drawed people interacting with each other,  her own children, so became faster at drawing.

Take Away Thoughts 

It was really insightful to hear their stories and where they are now with their work. They all seem to have had different paths from graduating a while ago to only in the past few years deciding to fully get into children’s picture books. Their sketchbook work was so lovely with lots of different mediums, marks and colour used, and it is something I think really is important to figuring out what you want to do with your own illustrations, as well as just improving in general with drawing. I definitely want to get back into drawing as much as I can in my own sketchbooks, at the moment it isn’t really possible with university work but when that starts to come to an end I will get back into it.
]]><![CDATA[The Action Plan Reassessed]]>Fri, 22 Jan 2021 13:26:15 GMThttp://erinretson.co.uk/pphidden/the-action-plan-reassessedI want to have a bit of reassessment of where I am with the goals I set in the action plan, and what I can maybe add or adjust with what I set to achieve.
​
October 2020 Short Term Goals Overview - I was able to meet all the deadlines and complete the work needed for the dissertation/ portfolio. I got my website up to a better standard than what it was in beforehand and I was able to start to figure out what path of Illustration I want to go at the moment. I never really had time to get any personal work done, which was frustrating, but the past semester was so full on with getting all the work done and with my part time job/ other little jobs needing done, there was literally no time. I doubt this next semester will be any less busy, but hopefully there is time for personal work! 

Revised Goals

Goals to achieve in this year 2021.
​
University Goals
​Complete Professional Practice Module :​​
  • Write up blog on here.
  • More information in future.

Complete Illustration Practice Module :
  • Main idea of illustrating a book about women throughout history in Scotland.
  • Involve research, development, and maybe a blog to keep record of the project.
  • More information in future.​
​
Graduate!
Personal Goals
  • Maybe enter the Penguin Book Design competition? Deadline is 2nd March 2021.
  • Continue with research into how I could try and join an illustration agency?
  • Keep looking for opportunities for work.
]]><![CDATA[Clients I Want To Work With]]>Fri, 11 Dec 2020 13:50:21 GMThttp://erinretson.co.uk/pphidden/clients-i-want-to-work-withWhen I think of what kind of clients I would like I straight away think of publishing places, but what other clients do I think I might be able to work for? I will put some links to clients here that I would want to complete work for. 

Clients

Having done some research into clients I kind of have a better idea of who and what I want to be working on. With publishers for books and literature related work, illustrating covers and Illustrations within the books. Also I think it would be interesting to have work for art material clients in terms of illustrating for the packaging or promoting their products. I think I would like to do illustrations for museums, galleries, visitor gardens or historical sites, either promotional or informational illustrations for their websites or for on location use, maybe even work for their gift shops, such as books, postcards etc. Creating promotional illustrations for events like Spring Fling would be something else I would consider doing. Also having clients like YWCA Scotland is something I would want, being involved with clients that have positive goals and intentions is what I want to do as an illustrator, not work for brands/companies that don’t consider equality and human rights. I definitely would prefer working for clients that are aware of how they are making their own products, how they are contributing to society and not giving in to cheap labour or fast fashion as examples. Yet with bigger brands come bigger pay, so if I was offered work for a well known client I would have to assess if I can work with them or not.

Finding Clients

]]><![CDATA[Working For Free, Competitions & Internships]]>Tue, 24 Nov 2020 14:02:17 GMThttp://erinretson.co.uk/pphidden/working-for-free-competitions-internshipsWhen it comes to competitions, internships, speculative work or working in return for ‘exposure’ there is debate on wether illustrators should or should not do so. The general consensus seems to be that if you aren’t getting paid for your work then you shouldn’t do it, which I agree with. 

Working For Free or ‘Exposure’/ Spec Work

It is so wrong that in the creative industry our work is seen as a ‘hobby’, something we are doing just for fun, when in fact it is the way we want to make money. Why should work be expected to be given up for free or ‘exposure’. Hearing that illustrator Holly Exley was asked to work for free by a well known brand because they couldn’t afford for artwork on that project really surprised me. They probably would just keep asking other illustrators until someone said yes, which is why I think it is so important to say no, and for all creatives to do so as well. To give up not just your work but also time for free is wrong. The only time I think you should is for family  or if it is for charity/raising funds and it is something manageable to do nothing too big.

Should creatives ever accept unpaid work? We ask some seasoned experts

Working for free remains one of the most hotly debated topics when it comes to creative work. Should you ever do it? If so, when? What should you expect in exchange? And if you shouldn't, why not? We spoke to a group of seasoned professionals about the subject, and found the answer to be an almost overwhelming chorus of "No!

Working for exposure / working for free - Marloes De Vries | blog

Like any freelancer I get occasionally asked (a few times per month) to work for free. In this blog post I will write about a few of my experiences as well as some experiences of other creatives. Oh the joy, when you have a new request for an assignment.

Should I Work for Free?

hey there! Who's ready to stop working for free? Hopefully you are! If you have any doubts, consult this handy chart below. Start in the middle and work your way to your answer! Since I am a crazy person and we are all nerds, this chart is entirely css and html.

Competitions 

With competitions I think they can be a good thing for illustrators to enter, but it depends on a few things. I don’t think you should enter if the prize is not worth the time. Why spend days on a full coloured illustrated scene for say £50? Especially if the organiser profits off your entrant after the competition, they are getting the money for your work. I also think that having to pay to enter is dodgy in the sense that you are giving up say £5 - 50 with no guarantee you will win, with the organiser profiting straight away. That money could go towards something way more useful, for me it is like working a day at work with then that money I made, more than likely going to waste if I entered. What competitions do I think are worth entering then? Ones that are free, that you have work already done from personal work that fits the theme so you aren’t giving up much time to enter. Picturehooks did a competition this summer that I believe to be a good example. There was 4 prizes of £1000 with your illustration for the competition possibly being exhibited, free entry, yet they also shared the work of runner ups on Instagram. I see it as fair because it was a single illustration with an already set theme, and a reasonable prize for your efforts, you didn’t lose any money or a lot of time if you entered.

Picture Hooks

From Seed To Table is an exciting new Picture Hooks competition, taking place over July and August 2020! We invite you to create an illustration on this theme. There will be four competitions - and each winner will receive a prize of £1,000. Find out more details about the competition, including how to enter.

Student Design Award

The competition is open to anyone studying on a Further Education or Higher Education course - part time or full time, in any subject and at any level at the time of the deadline for entries (Tuesday 2 March 2021). Entrants must be aged 18 or over by 1 July 2021.

The Macmillan Prize 2020

The Macmillan Prize for Illustration will return in 2021, when we will celebrate 35 years of the award. We will follow the usual timings in the first half of the year with submissions in April. In these exceptional circumstances, we will be extending our criteria for entry to include students completing their courses this year (academic year 2019/2020).

The AOI - World Illustration Awards 2020

Visit the amazing online Showcase! Check out our comprehensive showcase of curated lists, category highlights Award winners and cross category awards. Extra special for this year's showcase are work in..

The AOI - Competitions, Awards and Prizes

Competitions, Awards and Prizes are a great way to increase exposure and gain recognition of your work. Many illustrators use them as a point in the year to reflect on previous work and showcase their most exciting pieces. Awards can also offer access to new audiences and opportunities to network.

Design Debate: Should You Enter Design Competitions?

In our newestdesign debate, Isabel Castillo Guijarro, Gijs van den Berg, and Wael Morcos explore the pros and cons of trying to win a design award. Ready, set, debate. 1. Competitions can validate your work and facilitate new connections.

V&A · V&A Illustration Awards

The V&A Illustration Awards were established in 1972 and have since become the UK's most prestigious annual illustration competition. Free to enter, the Awards celebrate excellence in student illustration and three categories of contemporary practice: book cover design, book illustration and illustrated journalism.

The Book Illustration Competition 2020

The Book Illustration Competition is a unique partnership between House of Illustration and The Folio Society that seeks to identify and promote new talent in illustration. Each year entrants are asked to submit three illustrations and a binding design for a book chosen by The Folio Society.

When do competitions become free labour?

There can be a fine line between beneficial and questionable when it comes to competitions, especially when they're used as a marketing tool. Sure, the promise of prizes and exposure are enticing, but what about those who don't win? At what point does this become a conversation about free labour?

Internships

I tried to find some internship advice but I feel for illustrators it isn’t available, or just isn’t something really done in the industry, maybe for more graphic design based jobs. I think again that they are worth doing if you are getting paid or chance for a job there. It is difficult to know if it will really benefit you if it isn’t paid, if you can afford do so then weigh up wether it is worth your time.

Cartoon Saloon are looking to fill a host of positions.

Kilkenny animation studios Cartoon Saloon are looking to fill a variety of positions on their crew and are looking to you to help them.

When are unpaid internships illegal?

Why is it so hard to tell if an internship is illegal? Laws surrounding internships are still very complicated. One of the reasons for this, is that the terms internships, interns, work placements and work experience currently have no legal status attached to them.

Join Penguin Random House UK

What we can offer you and how to apply Work Experience We have year-round paid work experience slots of two weeks, where you'd be shadowing a team and getting to grips with day-to-day life here. It's a learning opportunity - a chance to learn about the world of work and go behind the scenes.

Should you ever take on unpaid internships? Student Daniella Chukwuezi

Firstly, can you tell us a bit about the internship itself and how you found the experience? In January, I had an interview with a photographer that my uni tutor, Steph, suggested I reach out to. But that photographer actually recommended that I approach creative director Harris Elliott instead, saying that he was a better fit for me.

]]><![CDATA[Looking into Illustration Agencies]]>Thu, 19 Nov 2020 22:03:56 GMThttp://erinretson.co.uk/pphidden/looking-into-illustration-agenciesIt wasn’t so long ago when I found out about agencies for illustrators and never really knew it was a thing. So it something that I have started to look into and see what they are about.

Agencies 

Do I need to be with an agency?

No doubt there are illustrators who can have a career without any sort of agency, but I see having an agency as someone dealing with the aspects of emailing clients, contracts, etc, as a benefit as it frees up time to be able to get on with the creative work. I think being in an agency allows for more opportunities with clients, than if you were on your own. I remember being able to meet Claire Melinsky and she said it was through the agency that she was with that got her the job to illustrate the Harry Potter books about 10 years ago, as well as food packaging. With agencies you have to email and submit portfolios to try to join them, as well if they already have someone with a similar ‘style’ or approach to illustration they would be less likely to take you on. But there has been some illustrators found by agencies who end up joining, though it isn’t common. The Artworks Illustration Agency did a call out for graduates in 2020 to join them through the Startworks mentoring scheme, which a few illustrators I had been following ended up getting chosen for it, so that is something to consider if the agency does it again or if any other agencies do anything similar. I think I am considering trying to join an agency, but at this stage I need loads more work and understanding of what it will entail before doing so.
]]><![CDATA[Talk from Ed Merlin Murray]]>Tue, 17 Nov 2020 18:40:57 GMThttp://erinretson.co.uk/pphidden/talk-from-ed-merlin-murrayToday for university we were given a talk by former student Ed Merlin Murray. He went over how he has used Instagram as a way of getting clients to work with and finding other creatives as well. I found it interesting to hear how even though he has a large following  he preferred it when he had a smaller following of say 1 - 10k, as he could engage more with them, while now he can’t engage with everyone. What I took away from it was that it really isn’t about numbers but the engagement/ what work you put into it, so being consistent as well. Instagram or any format of a place were you show your work digitally is crucial/essential in the present. It is the easiest way to get seen by clients, by you engaging with them or them finding you. Social media is a format that can be more up to date than your website, as it is a space you can post daily.

Pros

Cons
  • Community, there are other creatives interested or doing similar work to you.
  • A space to put all your work, easy to see it all on your page, so others see it too.
  • Able to promote and sell work.
  • Easier to contact clients and for them to find your work.
  • It is a double edged sword, can steal away your time that you could be making work.
  • A focus on likes/ follows unhealthy for you.
  • Screen based, on phone = easy distraction.
  • Instagram not aimed at helping you, they want you to spend money through advertisements.
  • Instagram is not what it used to be, no longer chronological order of posts.

Best Practice as a Creative and as a Consumer 

Creative

  • Post your best stuff, regularly so the same time/day each week.
  • When you post, drop and run! Leave it for awhile then go back and respond to comments/ DM’s (I thought I was the only one who did this!).
  • Use your hashtags well, vary them with each post, smaller hashtag numbers better for work to be seen, look at other creatives for more hashtags, start your own.
  • Stories, reels, IGTV, make it more personable.
  • It is a learned process, don’t worry what others are doing, it is a marathon not a sprint.
  • Prepare posts in advance, save as drafts.
  • Look at analytics, not too much.
  • Don’t post non art, only in stories, keep it a portfolio.
  • Have engaging captions, reader will stay longer, write in batches.
  • Be positive/excited, fake it till you make it, see it as showing your creation, not necessarily as selling.
  • Don’t pay for any advertising, it is a free platform, it is seen as advertisement not a post.
  • Reposting work not advised, but it can help to show work to a new audience, just re take/ show the work in a different way compared to first.

Consumer 

  • Identify other successful creatives in fields you want work, learn from them, how can you adapt?
  • Identify relevant magazines/clients that are in your genre, can you engage with them? Comments/DM’s.
  • Find/follow illustrators in your field, see what they are buying or selling, can you collaborate with then?
  • Like, comment, save, share.
  • Watch out for inactive browsing, it is better to making your work than consuming way too much of others.

Presentation 

  • It is process you have to learn, develop and experiment with, compare yourself with others to a degree that benefits you.
  • Take the best photos/scans that you can, invest in lighting, equipment or camera if possible.
  • Edit your photos, use photoshop/ apps, VSCO has best filters, it is ok to use filters.
  • Use/experiment with alternative formats to showcase work. LinkedIn, Tumblr, Pinterest, Behance etc. Link them all together.

Engagement 

  • Have a look at your analytics once a month to gage an idea of when/what to post, what is working.
  • If commenting write more, not just emojis , engage with words, don’t need to be a big account to do so.
  • Better to have a smaller following you can engage with that 100’s that are unengaged. 
  • It takes time to grow a following/ community, just be as consistent as you can.
  • Don’t post more than once a day, might confuse viewers, less likely to see  or engage with both.
Use Instagram as a space to enjoy, low engagement doesn’t mean your work isn’t good or you are unworthy. It isn’t a measure of quality as you as an illustrator, you should just have fun with it!
]]><![CDATA[Social Media]]>Tue, 17 Nov 2020 14:56:37 GMThttp://erinretson.co.uk/pphidden/social-mediaSocial media is a big part of how society functions these days. If you do not have it you are out of the loop and if you do have it, you can end up being stolen of time. For me social media is something that started to be a thing when I started secondary school and to be honest I never really got into it. I got Facebook but did not really like the idea of posting about my life on it. Being someone who is very introverted, social media had no appeal to me. Then I decided to try Instagram about 5 years ago and really enjoyed the creative community aspect within it, so I slowly came round to using social media, as a way of creativity rather than being personal. I have tried using tumblr but it is something that has kind of died off as a platform, and at one point I did try to blog, but nothing gained traction. Looking back I think I just could not grasp the platforms I was using and I found it hard to be consistent (something I still struggle with).
In the present I only use Instagram as a platform to post my work, and my (at the moment WIP) website. LinkedIn is something I am considering trying, but not sure where else, Pinterest is mostly for research really. I feel like with my Instagram I only have followers that I know in person or online, or that are inactive. I think it because I find it hard to be consistent with posting and having confidence in the work that I create. I want my feed to be cohesive and not all over the place. I try not to think about the numbers on it too much, I have been using it as a creative space for 2-3 years, and have a gradually growing small following.  Also I need to be more aware of how I am spending time on it, I go on it just about everyday but do not engage enough. It has been a positive place for me though, nothing negative, I have found opportunities and other creatives through it so I am grateful for that.

Instagram Illustrators

A lot of the illustrators I follow have a good level of engagement and posting that keeps them alive on Instagram. Some post regularly others not as often, but what I see in their feeds is a sense of coherent work that immediately gives a sense of style and professionalism. They keep the content varied as well, so some images show work in progress, sketchbook pages or fully finished artworks. Sometimes they might get involved with certain events like drawtober, draw this in your style or folktale week to name a few, which gives a chance for other creatives to find each other. They have contact information in their bios and links to their other platforms, like YouTube. Even though you can research and look at other social media creatives, the only thing that you can do is keep posting and engaging to be part of a creative community!

Advise on Social Media 

]]><![CDATA[Looking into Freelance Illustration]]>Sun, 15 Nov 2020 12:19:51 GMThttp://erinretson.co.uk/pphidden/looking-into-freelance-illustrationI see freelance as exactly what I want from a career in illustration. To be in charge of when I work, being able to work from home, having freedom to an extent, definitely seems like the dream. Having parents that are self-employed has led me to understand that it isn’t all perfect and you really do have to be self driven to get the work done, sometimes you have to work every single day just to get money in, even if you can’t be bothered or are ill. You have organise your money, or get an accountant (at a cost!) to do part or all of it. You are your own boss basically, and to be able to plan my life without being told by someone else what time I have to work or when I can have holidays without little or no choice, is honestly what appeals to me as a freelancer. Obviously being self-employed as an illustrator means a regular income is not guaranteed, unless you are getting enough work to make a living, so there are many who have another job on the side to have a steady amount of money coming in.

YouTube Freelancing Advice

Freelance Illustrator Blogs

Freelance advice Archives - Marloes De Vries | blog

If you're an illustrator or just have a passion for drawing, you've probably been there: you're in an art supply shop filled with the most lucious sketchbooks. But what sketchbook should you get? Depending on what you want to use it for, and what...

Money Advice and Patreon

Frannerd has a bunch of videos where they talk about pricing and how to make money as an illustrator. Also quite a few creatives are using Patreon as an income source, by offering content to people for a set amount of money each month, though it usually benefits those with a larger following, as more people will likely pay for extra content.

Examples of Patreon Illustrators

]]><![CDATA[Portfolio Refinement]]>Tue, 10 Nov 2020 16:12:05 GMThttp://erinretson.co.uk/pphidden/portfolio-refinementWebsite presentation is very important and vital to gaining work as an illustrator. Your website should be a representation of your work, in a way that is professional and engaging. I have learnt a lot in a year from trying out different layouts on my own website, yet I know I still have more to do! For me I feel like I struggle with just putting work on it because I don’t think it is good enough or the perfectionist side of myself keeps thinking I am not ready just yet for this level of professionalism. But I also know that if I never put anything up no one will ever see my work, so I just have to do it!

Website Inspiration 

​I feel like these websites all give off a sense of professionalism and personality which make them work well, as they use simple layouts, few pages and they all have their artwork mostly in one place for the viewer to see. 

FURRY LITTLE PEACH

Online portfolio and webspace of Furry Little Peach - Designer, Illustrator and Exhibiting Artist - living and working in Sydney, Australia.

Jamie Green

Sample artwork of four Anne of Green Gables characters: Diana Barry, Anne Shirley, Matthew and Marilla Cuthbert

Rebecca Green

Illustration portfolio, paintings, and books of American Illustrator and Author, Rebecca Green.

Danielle Bennett

This character was developed for a manuscript written by Lilla Rogers for the Make Art that Sells Illustrating Children's Books course

How to Have a Bangin' Website - Katie Chappell Illustrator

They're always there, talking to people about your work. While you're asleep, they're showing people what exactly you do, and how easy it is to work with you. If people want to buy stuff from you while you're driving or napping, no problemo. Your website friend has it taken care of.

Website To Do List

  • Have main page as portfolio and finish adding images (maybe some text informing what the work is?) 
  • Add about/ contact page
  • Add a sketchbook page, I am unsure if this is vital for potential clients, but it is something I want to add maybe
  • Refine name header, it is too detailed and small (also a bit pixelated for some reason!)
]]><![CDATA[Advice from Oliver Jeffers]]>Tue, 10 Nov 2020 16:11:38 GMThttp://erinretson.co.uk/pphidden/advice-from-oliver-jeffersOn the 21st of October Oliver Jeffers gave a talk for Adobe’s annual Creativity Conference, with advice he would give to himself as a graduate. This year the conference was free so it was a great opportunity to watch the video Jeffers made and I found it to be insightful and motivating!

Point 1 - T.C.O.B

Taking Care Of Business. Invoices, taxes, contracts, etc. All the non glamorous stuff just as important as the artwork itself.
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Point 2 - Never work for free!!

Exposure? No thanks, not worth your time. 
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Point 3 - Act the part

Act like the artist you want to be, just be your own voice. Not about lying, being honest and proud of what you do, not worrying about what anyone else thinks or is doing.
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Point 4 - Everyone is full of Shit!

No one really knows what they are talking about.
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Point 5 - Are you good enough to make it?

Reality is you might not get exactly what you want. Or do you even want it enough? Do you have the stamina, energy, grit, determination to push on and get to where you want to be?
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Point 6 - Get ready to hear no, a lot.

Rejection will be inevitable. It is how you move on from it or find a new way that matters. Be the river not the rock. 
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Point 7 - Use a bigger brush

Embrace the ‘mistakes’. If you keep smoothing away at something it removes the charm, it no longer has anything interesting to it. In a sense just sketch but better.
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Point 8 - Find your people 

Wether it be family, friends, a community, peers get feedback. Conversation opens up what if’s. Be curious, ask for advice, it can really help and open up new thoughts.
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Point 9 - Authenticity is an asset

Why are you making art? Is it for validation, is it what you are good at? Look at other creatives motivation, not their actions. Why are they doing it? Just be yourself.
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Point 10 - Listen to your style

Be your own style. It will only go out of fashion if you follow trends. It makes you unique. Draw a straight line. All those bumps, imperfections in that line, make them louder because that is your style.
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Point 11 - Be inspired (not too much) 

Anything could be an inspiration. Be constantly open or looking for it. Though don’t plagiarise work, not good!
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Point 12 - Show up and work

Talent is not enough, it only goes so far. You have to do something to get something back. Even if it is one sketch, it is one sketch more than yesterday.
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Point 13 - Recognise bad days

If everything seems or is going wrong, cut off early, have a break, it won’t improve without a clear mind. Also if it is a good day recognise that and carry on.
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Point 14 - Remember life isn’t fair

We can all complain especially if something hasn’t gone the way you hoped. Maybe you have envy of something, so make an enemy of that envy, you don’t need it. Be grateful, it is a luxury to create art and have a comfortable life.
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Point 15 - We don’t have much time

Best advice for artists block? Move on to another project, or just draw for fun. Remember you are going to die! No one else is going to do the work for you, only you can.
]]><![CDATA[The AOI Business Masterclass]]>Wed, 28 Oct 2020 20:02:01 GMThttp://erinretson.co.uk/pphidden/the-aoi-business-masterclassOn Tuesday 27th October, Rachel Hill from the AOI (Association of Illustrators) gave a business Masterclass aimed at informing illustrators of how to making a living out of creating illustrations. It was very helpful and insightful, with a lot of the information either new to me or I had a vague idea about. I will go over my notes here to give me a place I can come to in the future when needed!

Self-Promotion 

Online Portfolio:​
  • Let your work do the talking, keep it simple, clean and clear for the viewer.
  • Only include work you are proud of/ want to be commissioned for.
  • Have it curated/ tailored to suit the work you want to be doing.
  • Keep your best work at the top.
  • Make it look like you are an illustrator not just a student.
  • Functionality important, fewer clicks make it less time consuming for viewer.
  • Work on all electronic devices.
  • Simplicity of number of pages, categorised well.
  • Landing page as your work portfolio.
  • Contact page simple, email or agency contacts.
Sourcing Clients:
  • ​Pitch yourself as an artist of quality.
  • Focus on personal projects to show what you can do.
  • Study the industry and find where you fit in, be ambitious!
  • Contacting client, be direct, simple. Personalise, not just sir/madam. Be warm/friendly. Website link, low res JPEG’s.
Managing Finances:
  • ​​Register with HMRC as self-employed, as soon as possible after first commission.
  • Income tax applies over £12,500, including other work.
  • Keep all incomings and outgoings up to date.
  • Have a separate business account.
  • Keep all contracts with clients and receipts for expenses (sort then into categories).

Social Media

General points:
  • Today it is the widest form of promotion, free and used by majority of people all over world.
  • Can be a community, connect with other creatives, they may invest in you.
  • An extension of website but more up to date, more persona/ blog aspect to it.
  • A possibility of of being found by clients = commissions.
  • Some projects might not be able to share on the platforms = contract terms.
  • In the end it isn’t about likes/follows (they might help to an extent), it is a place to post and share experience/ work.
Platforms:
  • Twitter - Opportunities for commissions, clients might call out for illustrators, keep it professional.
  • Instagram - vary content (sketchbooks, series’s of images, time lapses), use of stories, need to be more consistent, engagement with followers and other artists, only use DM’s for casual not business, insights to understand how your posts are performing.
  • LinkedIn - an online CV, connect with clients, can contact them through this media, also able to post on there.
Do’s and Don’ts:
  • Do - be consistent, engage with a community, make it your own, take a break if needed.
  • Don’t - DM art directors directly, not too personal, be only in it for likes/follows.

Copyright and Your Rights 

Copyright:
  • ​You own the work itself, 70 years after death it enters the public domain.
  • Depending on the contract you may own the art itself, but cannot reproduce it.
  • It is the image itself, not the style/idea that you can claim ownership of.
  • Intellectual Property Right that protects your work.
Copyright Assignment:
  • ​When the copyright holder sells/ transfers ownership of the copyright to someone else.
  • Selling your work meaning you no longer own it is corrosive to the industry, strongly advise against it.
  • The money offered would not be the actual value of the work.
  • You then lose control of it and they can use however they wish (against your morals, they receive all profits).
Moral Rights:
  • They are automatic to yourself.
  • In contracts be aware of them trying to remove your moral rights.
  • You have the right to be correctly credited for your work.
  • Right of Paternity - being identified as the creator of the work, recognition.
  • Right of Integrity - not be subjected to derogatory treatment, client can’t change your work.
Infringement:
  • Infringes on your work, someone benefiting from your work without your permission.
  • It is illegal, charge them for profiting off of your work.
  • Protect your work by using low resolution images online, name on the file.

Contracts

Types of Contract:
  • Written down, more official/professional, all terms agreed so everyone happy!
  • You have to negotiate, client will always make it in their favour.
  • Exclusive - only the client can use the work.
  • Non-exclusive - both you and client can sell/use product at same time.
  • Silent agreement - client doesn’t have to sign, you have to make sure they say yes to make it legally binding.
  • Usage/rights - make it specific to what exactly the client is using the work for.
Benefits of Contracts/Licensing:
  • Evidence for possible disputes/disagreements in future.
  • Clarity, certainty and confidence in word, so everyone understands.
  • Payment, organised in instalments, one at start, middle and end of project, royalties.
Important Clauses:
  • Look out for - moral rights waiver, copyright assignment, irrevocable licenses (client might take your work without payment).
  • Crucial clauses - payment if cancelled or rejected, sub-licensing.
  • Sub-licensing clause -  if client/ publisher/ third parties make more income with your work then you will receive payment.

Negotiations

What it is:
  • Not a favour for a friend or family member.
  • You are a business offering a service.
  • You negotiate to a point where everyone is happy as they can be!
Fee Erosion Tactics:
  • Client will always offer the least they can, to start, so you have to haggle.
  • ”Can you give me a ball point figure?” - too vague, no number/quote without full facts of project.
  • ”What’s your day rate?” -  creative work is different to hourly/day pay rates, explain this to client.
  • ”We’re looking at 3 other illustrators” - not worth agreeing to, not a race, if they want to work with you they will!
W.E.B Pricing Technique:
  • W - what you want to get, opening quote, be ambitious but not overly.
  • E - what you expect to get, slightly lower than first.
  • B - what you better get, the minimum you are willing to do for job.
  • If none work walk away, not worth your time, don’t work for little.
Should I walk away?:
  • Can you negotiate the license/ contract terms?
  • Value your time, don’t go below your bottom line.
  • Do not be tempted by exposure, it doesn’t pay, it isn’t just a hobby, unprofessional.
  • Do not close door on future work with that client, be honest but pleasant. 

Licensing and Earnings 

General Points:
  • ​What area is the commission? - finance, fashion, education, editorial, publishing, etc.
  • Audience? - Niche market, generational, gender specific, high end, cultural.
  • A bigger client should charge more for your work.
  • Potential budget? - advertising, design agency involved, any production?
  • Value of product? - retail price, is it just a small illustration or number one campaign for client/company.
  • Renewing license if work successful, 60 - 70% of original payment, remind client of renewal just in case!
Additional Fees:
  • ​Day rates may be applicable to mural installations, live drawings, site specific work.
  • Additional amendments for extra illustrations done or sample work.
  • Travelling for research or to the site for the work.
  • Graphic design for typefaces, layouts.
Areas of licensing: 
  • Editorial - quick paced, fast turnaround time, short licensing durations ( one month, single use), more rigid, upfront fees.
  • Publishing House - upfront payments, royalties when published + small net profits, house takes a %.
  • Self Published - Always flat fee, license shorter period, be cautious if approached by author.
  • Advertisement - lucrative, fewer opportunities, worldwide license, broad usage (posters, billboards, print), short license.
  • Corporate - visual assets for client, more practical, reports, charts, website visuals, social media.
  • Products & Packaging - possible range of products, high/ low retail, 5 years average license, coverage of design.
Earnings:
  • Consider outgoings as business - rent, studio, internet, phone, computer, software, materials, etc.
  • Living wage £18,700 minimum per year.
  • Freelance wage £20 - 25 k per year.
  • Editorial £20k, Advertising £35k, Publishing £25, Products/Packaging £22k, Corporate £25k.

Take away points

  • Research clients you want to be working with.
  • Work on personal projects, they are the work you want to be payed for.
  • Be business savvy and professional from the get go.
  • Take control of your career, don’t wait to be found!
]]><![CDATA[Looking at Concept Art]]>Wed, 28 Oct 2020 19:57:46 GMThttp://erinretson.co.uk/pphidden/looking-at-concept-artI remember the first job that I wanted to ever do was being a concept artist. I had never, ever thought about what I wanted to do with my life, until I learnt about concept art. I just remember it being 2011, seeing the teaser trailer for Brave and then finding the concept art for the film. I feel like that was the point in my life when I realised I wanted to make art as a living, everything sort of clicked into place! At this point I know illustration is where I sit with my art, but I definitely am inspired by concept art, I am just unsure of what it fully is to become a concept artist or if it could be an option for me as a career.

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]]><![CDATA[Looking at Children’s Picturebooks]]>Mon, 19 Oct 2020 19:12:38 GMThttp://erinretson.co.uk/pphidden/looking-at-childrens-picturebooksI had never really considered illustrating children’s picture books until recently. It is an area that seems to have a lot of opportunities and way of making money as an illustrator, so I am going to do some research/ find books that are interesting to me.
A few months ago I came across the works of Alexander Lindberg and Evaline Ness, whom both I took a interest. Lindberg has a style that uses shapes with texture within them, that to me looks similar to the printmaking technique Pochoir. Little information is available on Lindberg but his style of illustrating is something I am influenced by. Ness took my interest with her colour combinations and how she used printmaking with woodblock/ Lino to create the illustrations. She illustrated so many children’s picturebooks during her life and each one has its own colour scheme that works with the story. Oliver Jeffers is illustrator whose work and way of thinking about art, is a similar direction to what I want to an extent. To be instantly recognisable in your work and have your own ‘style’ is something that takes years, and to be honest might never happen for me, but I can only do my best and hope!
Anoosha Syed and Sha’an d’Anthes are both picturebook illustrators, which in the videos above, both give an informative view into how the process of making these kind of books work. For me it is interesting to hear from their own experience of making them, as even if I was illustrating a book for a different genre they have given advice that can be applied elsewhere.
Back in February this year I visited the Scottish Modern Galleries in Edinburgh and was able to see the exhibition that Picturehooks holds (I think?) every year. It has the work of illustrators who are part of a mentoring scheme helping them to create a children’s picturebook. It something to consider maybe applying for if I ever choose to go down this route, as it would be such a good opportunity to learn and develop from!
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