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- Most companies now seem to find most artists through Instagram - websites often seem outdated.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.
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