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An Audience with Aimee Stewart & Sarah Habershon

3/25/2021

 
On 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.

Vivien Mildenberger Q&A on Instagram

3/18/2021

 
On 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. 

An Audience with Hazel Mason and Rachel Tunstall

3/18/2021

 
On 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.

General Finds

3/12/2021

 
Here 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

Know your worth: How to negotiate fees and master money chat

Taaryn Brench: Overcoming adversity & craving variety

“I don’t want my art to be good or bad, I want it to be me.” My interview with Rebecca Green

Ten key tips that will help you get ahead as an illustrator

Legend of Live Illustration, Katie Chappell

Rebecca Green On Staying Inspired As An Artist

Videos

An Audience With Duncan Fegredo and Sean Phillips

3/11/2021

 
On 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.

An Audience with Lucy Hadley and Vince Waldon

3/4/2021

 
On 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.

CV and Contacts

3/4/2021

 
I 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. 
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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.

Plum Pudding Submissions

CAT Agency Contact Us

The Bright Agency Submissions

Floris Books

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