Presentation and script

Portfolio

My portfolio is finally starting to take shape. During my portfolio review I was advised to consider the general theme of my work (horror, comedy) and how my portfolio should represent that. For example the two digital mouse pieces don't seem to fit in with the rest of my work as much as some of the other pieces. The colour palette is also different with them. 

As I develop my practice further, I need to consider my colour palette. Most professionals continuously use the same set of colours throughout all their work which is something I intend on working on. The colours I've noticed myself using are the colours I tend to find myself wearing/buying which clearly comes across in my work. 

Outcome of making professional contacts

Making a Linkedin account has allowed me to contact professionals and alumni that could be useful to my developing practice. Overall, contacting through people through email, Instagram and Linkedin has given me some advice for the future rather than just being thrown into the world being unaware of where I should be. 

Speaking to recent alumni (last year) made me feel less nervous about graduating. Most graduates from last year are still working at a normal full time job and making personal work alongside. Others, such as Emma Knowles, are working in a design based environment to get experience. However, she keeps her personal work aesthetic completely separate from the her job. 

Alumni from a couple of years ago such as Joe Boyd are now more experienced and are constantly taking on more freelance work. He explained to me that it was difficult to get paid work straight from graduation and finding work is still an ongoing process. He also mentioned how working in a studio has aided his work ethic because it separates work from home. Knowing that you're paying for a position at a studio makes you more motivated to make work that you could potentially be paid for. 

On Linkedin (mostly) I have had conversation with professional freelance illustrators and hiring agencies. I had a useful conversation with Scott Balmer who mentioned that sending postcards of your work to newspapers/magazines is a useful way to get your work noticed and then possibly used alongside an article. This is something that was also briefly touched on at Hanbury. Social media is also now a useful place to get work noticed in the modern day and I'm constantly trying to keep up with my instagram account. 

Overall, the experience of being able to make connections with professionals on various levels has advised me on where to head in the future. It's helped me feel less nervous about not having my work 'out there' as much as some others might seem to AND KEEP MAKING WORK.

Comparing my work to current professionals

Contacting recent alumni and seeing the work that they are currently making after graduation has allowed me to compare my own work ethic. There was a mixed response with the people I have spoken to. Some of the recent graduates are still working full time in retail and continuously making work on the side. Others are now working completely freelance. 

When looking at more professional illustrators such as Scott Balmer I have considered how I need to continue working hard and step up my game. I have had a conversation with him on Linkedin which has given me an insight into his work life. 

His work has been seen in books, newspapers/magazines and stand alone illustrations. As well as having a varying aesthetic to his work which seems to vary from flat vector based imagery to more three dimensional, detailed pieces. 

His website and blog are both up to date (something I've been struggling to keep up with whilst at uni - being well aware it's going to be harder to keep up with in the future). 

Knowing that Scott Balmer has been working in the industry for many years and I'm still developing my practice I don't like to compare myself too much, but I am well aware that I need to keep working hard and consider the growing competition around me. 

Promo Package

 

When considering how the application of my work might affect my professional stance it needs to be placed where it would make it stand out from the others. For the Hanbury Symposium (and wherever needed in the future) I decided to make my business cards at more of a postcard scale. I did this because it suits my work more due to the bulky aesthetic, as well as making it stand out more against the smaller business cards surrounding it. 
Stickers also seem appropriately suited to my work because of their simplicity. However, if I were to make these stickers again I would consider making the text smaller and adding my whole last name to make it easier to find me. 
Maybe in the future, when I have created more finalised pieces of work, I would consider making a small zine to compile my work into a mini portfolio with contact details for people to take away and for me to hand out to other professionals. Either this or possibly a short comic strip that could be done when my pumpkin/devil characters develop further. 
I've tried to keep all of the branding the same throughout my business cards, creative CV etc to make it clear that it is my work. 

Cost of Living

I did the cost of living sheet similar to last year to work out my financial obligations. At the minute water, gas etc is all covered under my rent. However, in the future this is something I need to consider more. As well as the car's insurance cost and MOT prices. Thankfully, my phone bill is a lot cheaper than last years which has knocked payments down drastically. Having my car now in Leeds has however cost me more money to run it. I try to avoid driving where possible and want to continue to do this (also considering the environmental impact it has). I may need to look back at this spreadsheet in the future to calculate how much I need to earn to be able to fund my lifestyle. I could drastically cut back on spending money on clothes and cosmetics to save a little more money. 

Next year, if I do a teaching course then loan is still applicable to me (depending on where I study). I'm also planning on taking on full time work over summer and where possible when I move back home to save money for the future to fund my practice.

Who's my target audience?

Throughout the year, my target audience hasn't changed drastically from my previous work. However, since this year I have focused more on character design and book illustration, this may have broadened my audience. 

Currently, my target audience is:

• Young adults 
• People who read left wing newspapers/magazines
• Interested in politics 
• Character design 
• Literature fans (especially classic literature)
• People who read graphic novels/comics

The last 2 points have been added into my current work as I have focused more closely on being less political and working more freely by creating fun, bold characters in different situations. Whether it's taken from a classic book e.g. Frankenstein, or that I have made it up.

Hanbury Symposium - 21/03/19

Looking back on the symposium in Hanbury Hall I found a lot of the professionals to be quite helpful when considering my future practice. Especially, when thinking about just after graduation and whether companies take on recent graduates. 

Here are the interview questions: 

Publications:

• At NoBrow they have to persuade the marketing team that the work is good and that they can make money from it. 
• If it doesn't make it through then they often come back with feedback on what can be changed.
• NoBrow have an open submissions policy. 
• Develop a thick skin and learn to deal with rejection because it will happen. 
• Rather than just sending out work to everyone, consider WHY you want to work with them. 
• Does your work suit the other work that's been published by the company?
• Often more revenue is taken with children's books because graphic novels have a smaller audience. 
• Sending physical copies can sometimes make it more memorable (follow up with an email?) - consider the cost of printing.
• Follow publishers, see what events there are and go to meet them.

Anthropologie:

• Creatives contact them as well as them contacting creatives. 
• Make something that's relevant (you want something that she wants to invest and look good in so trends are important).
• Opportunities as a creative in house in UK and America/Europe. 
• Once you learn who you are, learn how to communicate that (don't stay in your comfort zone).
• You've got to be uncomfortable to reach success. 
• Be guided by your authenticity not your circumstances. 
• Spending the time to learn new things pays off.

Studios:

• 'Ones to Watch' - 12 creative practitioners over the year that have achieved a lot/done something outstanding e.g. first solo exhibition
• Most likely to be noticed if you send your work and use your medium well.
• More likely to take on people who are more experimental, most companies now want moving image etc. (Print based might not now be quick enough) 
• Its Nice That encourage sending work.
• Making connections can be helpful because you never know who might mention your name in conversation. 
• Most companies now seem to find most artists through Instagram - websites often seem outdated. 
• Consider taking your work into a technological style - moving image, AR, interactive. 
• Websites are more of a hefty upload and often not updated as often as Instagram/.
• HOW DO YOU MARKET YOURSELF? WHAT'S YOUR USP?
• Graduate attention - be proactive, consider how you package your work, documentation (have you scanned that in or just taken a quick photo on your phone?)
• DON'T REPLICATE WHAT'S ALREADY GOING ON
• Where does your work sit?
• Research what roles there are that might suit you.

Advertising:

• If you have an agency/company backing your work then you are more likely to be noticed/taken on than just a freestanding artist. 
• Dusk is a small company (only 1 full time role because he prefers to take on freelancers) - works better because you're more likely to get paid more and only the best of the best can be chosen. 
• Find a sector of the industry that you fit into. 

Agencies: 

• Due to changes with Instagram CIA have decided to sit back and let artists send their work to them more often. 
• Try to have diversities within different artists. 
• Plum Pudding do portfolio reviews on occasion (London Book Fair)
• Concepts - if you have to be commissioned because nobody else can do what you do then you're already one step ahead. 
• It's about continuing to look after the illustrators that are represented and not just when they're new. 
• Recent graduates/new artists (even still studying) can be nurtured and advised by CIA whilst their practice is growing. If the work stands out to them then they will take you on board and help by giving you briefs and commissions to build your portfolio. 
• Editorial is always a good way to get your work out there. 
• Editorials tend to be less restricted because the client doesn't often have an idea in mind due to the fastness of the brief. 

Overall, the experience of the day has opened my eyes to the wider opportunities that we have as creatives. Before the trip, I had my mind set on being a freelance illustrator and all I could ever be, was an illustrator. However, after listening to the professionals talk a few of them mentioned how you don't have to go down that route and there are more opportunities that can broaden your experience. THANK YOU FOR THAT. Also many professionals mentioned how a lot of the work they now find is through Instagram, NOT a website. This is due to websites being slow with uploading and they're often not updated for months. Whereas, Instagram is almost used as a scrapbook for most creatives to showcase their work AND it is a lot quicker to upload. 

The trip has also made me consider being represented by an agency more because companies often take you more seriously and often new artists with smaller portfolios can receive more briefs that are suited to them. Hearing this made me want to up my game more. Also, I plan on finding the professionals who did talks at the symposium and reach out to them with my work for advice and possibly some representation. 

Find and Seek Pop Up shop

 I decided to take part in the Find and Seek pop up shop that Ada organised. The pop up shop was in the Corn Exchange (a fairly popular location) for just under a week. It has been a great experience to get my work 'out there'. However, I was initially nervous about my work not appealing to a large market. 

The use of social media to promote the event has allowed people to contact me about buying my work which is something I haven't received much before.

Seeing my work in a professional set up has opened my eyes to competition around me. I need to up my game. 

Overall, the experience has been great and really given me a sense of involvement in the contemporary art world.

More contacts/further conversations

Contracts

• Remember contracts are legal agreements between you and another party (helps protect you as a freelancer)
• It sets out details of what the parties expect of each other. 
• Reduces the potential for a job to change beyond the brief.
• Allows you to get paid full/part time if they drop out. 
• May be useful to seek legal guidance to ensure that the contract is sound.

Should include:

• The work to be undertaken 
• Time frame to be completed in
• Project requirements 
• Freelancing or an employee 
• Payment - how are you going to get paid? When will you get paid? 
• IP ownership 
• Usage/resale rights/licensing 

Stipulate: 

• Number of days/hours 
• Milestones 
• Number of revisions to be before extra charges (as it's taking time away from other jobs etc)
• Kill agreement - what happens if the wheels fall off? (charge them by weeks, set fee)

• Make sure you're provided with all the right assets, info, logos, specialist software, access to servers (may mean online facilities or work remotely).
• Clear whether you're freelance or an employee 
• You may be working to an hourly rate depending on job.
• Take part payment up front if possible (generally 30-50%)
• Make sure you include the payment terms (e.g. 30 working days/30 calendar days)
• Try make sure you receive payment before you hand over final file (not always possible) - watermark? 

You have two choices - sole trader or limited company 

Sole Trader:

• Sole trader (60% of business set ups) 
• Work by yourself 
• Can enter a partnership with another 
• Have a business name or own name 
• Can keep your existing bank account 
• All profits can be taken after tax
• Must buy national insurance liabilities 
• Must set up a PAYE payroll and collect taxes from them 
• Register for VAT if you get over £8500 

Limited Company: 

• More tax efficient 
• You have to file annual accounts and fill cooperation tax accounts

Mass Art Collab

The initial thought of this brief made me slightly unsure about how it would go but I knew that it would be a great opportunity to work with new people and gain experience in working collaboratively. When the time came I was nervous that I wouldn't be able to share different thoughts and there'd be a difference in taste. Thankfully, we all found common ground in drinking. 

Choosing the Otley run and having 2 figurative illustrators in the group was a huge convenience. Although, our work looked completely different (one being more detailed and the other being naive). This caused a problem that we'd have to overcome quickly. The board game idea allowed us to create character coins which involved having a drunk and sober side, mine being the drunk, and Brittany's being the sober. This suited our styles perfectly. 

The graphic designers worked on creating the board itself. They carefully selected the type faces for each bar on the run by using the actual type on the pub signs. At first the board game appeared too hectic because of the blob like pattern and needed to be simplified. Taking inspiration from designs on Pinterest, Janina managed to solve this issue and simplify the board. 

Cards were also included with simple imagery to explain the action (cons being move backwards, pros being move forwards, and neutrals being stay in the same place). 

Overall, the experience of working with international students has opened up more doors for me to collaborate with other designers with confidence. As well as working to a quick deadline as a group helped me work more efficiently as I didn't want to let myself or my team down. 

CV Writing

Why?

• Useful for selling and positioning yourself well.
• Often the first impression an employer gets of you.

How to ...

• Name and contact details (the name you want to be known by)
• Address 
• Email 
• Phone (space phone number out to make it more readable e.g. 12345-678-912)
• Personal profile/statement (lively, avoid cliches, should be around 150 words)

Needs to contain:

• Aims 
• Ambitions
• Experience
• Be appropriate for job 
• 6-7 lines 
• Identify relevant skills
• Remember first impressions count 
• DO NOT LIE (say you're willing to learn/have a basic understanding).

List relevant experience:

• Should be tweaked for each job 
• Make use of placements, commissions, internships or live jobs.

Education:

• Most recent first 
• Important but not most important bit of the whole CV
• Don't list every single GCSE

Relevant interests and hobbies:

• Good conversation point
• Be specific

References:

• If you're a bit thin on the ground then say that they are available upon request. 
• Can list tutors 

Check spelling and grammar 

Taylor each CV

Keep it up to date 

Emailed CV: 

• Consider the compatibility (will they be able to access it with the software that they're using?)
• Security (word documents can be altered - best saved as a PDF)
• File size 

Other Considerations:

• Printing (is it readable in black and white and colour?)
• What is the company preference? (ask what they prefer by ringing)
• Professional image 
• 1 page is preferable (creative CV could be double sided)

Academic CV:

• Often required when applying for academic jobs 
• Personal details 
• Academic profile (outline research interests and relevant experience/skills)
• Education (higher)
• Research experience 
• Publications 
• Professional development 
• Relevant employment 
• Presentations
• Skills 
• Professional membership
• References (minimum of 2)

Artists CV:

• Exhibitions/ galleries etc
• Artist's statement (more formal than an illustrators)
• Try not to use pretentious language 
• Context - what's the background of current practice?
• Additional information (work in galleries, awards, commissions etc)

My personal standard CV

 

Creative CV

(I even checked it in black and white to make sure it would work if printed)