Visit with Serpent's Tail Book Publishers

I was so pleased to have the opportunity to visit Serpent's Tail as the spaces were limited. We met Niamh Murray who is the Marketing Director. Niamh spoke about the process of book publishing, from selecting an illustrator, to finalising the cover and what decisions have to be made. We discussed how much an illustrator would expect to get paid for designing a book cover (around £500), and that you would expect to get paid even more if you handled the typography as well (an additional £250). Niamh displayed a selection of books on the table and they all looked lovely, not main-stream which I really liked. Niamh explained that the finishing details such as embossing are decided by herself and the team, not the illustrator. We were also told that the book titles had to be legible when displayed as thumbnails on Amazon, as this is where many books are sold and it needs to be clear and eye-catching. We were all handed a Jacket/Cover Design Brief which was very useful as we may be presented with this one day soon..hopefully!

We were all very fortunate to get a few moments with the Art Director Peter Dyer, and I value his feedback as he was kind about my work. Peter asked me why I have shadows in my work and perhaps he'd like my cut-outs arranged as a flat collage, which is easily achieved. Maybe I should show the elements flat so it's the same picture just with a different background and without the shadows, this will show it's versatility. I am very interested in the three dimensional aspect though and would like to venture into designing shop windows and events so I would definitely still keep my present works in my portfolio. Something to consider is having two portfolios; one for flat collage and one for the more three dimensional work. Both Niamh and Peter suggested contacting book publishers with a design of an existing book cover to show what you can do, they said a series works well for showing continuity within your work. Hopefully after graduating I will have the time to do this but right now I am just too busy! It's a great piece of advice though and worth baring in mind.

Visit with Tatler Magazine

Just at the back of Oxford Street I went to meet Lee Pears at Tatler. I spent a short time with Lee discussing my work and the potential it could have for the magazine. Lee suggested my three dimensional sets could work well for a jewellery shoot and that he could imagine the jewellery being hung and drapped over my cut outs. If this were to happen a professional photographer would take the shots which is a huge relief! Lee was very nice and positive towards me and asked me to forward my PDF Portfolio so he can show the other Art Director.

 Lee suggested contacting Bride magazine and said that my intricate cut outs could look nice as wedding dresses, he said it would be good if I made an image appropriate for their magazine before contacting them, this way they could see how they could use me. Lee also suggested I take a look in Libery, a shop close to where I had the appointment, he suggested my work could suit greetings cards but the more up market ones. I went and had a look and there really was some beautiful cards and wrapping papers in there. I will bare in mind the avenues that have been suggested to me and research these, and then the next stage is to arrange more meetings with relevant contacts.

Visit to You & Your Wedding Magazine

I was so excited to get a little time slot with You & Your Wedding! I approached them as I felt my work was appropriate and they may appreciate the delicacy and intricacy of it. My creations are quite feminine and I love to add a touch of sparkle, it's what every woman needs! 

I saw Kate Hornby (Art Director) and spent about 15 minutes showing her my work and talking about how it could fit in with their magazine. Kate was lovely and gave me such positive feedback, it really was very reassuring. I always take a box along to my portfolio visits in which I keep my hand cut pieces, it nice to show potential clients something tactile and also so they can see the detail close up, like my tiny stitched on beads. Kate was particularly interested in my teapot and tea cups and said that it could fit in really well as there seems to be a trend for antique/shabby chic tea sets for weddings at the moment. I was delighted that Kate liked my work and said that she would be in touch with me as they have their June/July issue approaching! It would be absolutely amazing to work with them, I shall keep my fingers (and toes) crossed! 

Visit to NoBrow

My second appointment was a group meeting at Nobrow in the trendy Shoreditch area of London. They publish the most amazing books and give new artists a platform. They have a shop full of a variety of beautiful books, with plenty of different styles. We were shown around the studio and taken downstairs where they do printmaking (as they sometimes hand make books). There was a sort of warehouse/storage section where they kept books as they explained that they sell a lot online. It would of been nice to show our portfolio's but unfortunately we didn't have the opportunity. Here's a link to their website http://www.nobrow.net/ check them out!

Visit to DDB Advertising Agency

Literally as soon as I arrived at Euston I had to dash to my first meeting with DDB Advertising Agency. Daniel Moorey was the Art Buyer and he had arranged a presentation for our group which was very informative. Daniel spoke to us about how he sources illustrators from books, and how he attends D&AD to see up and coming illustrators. It seemed that photography played a huge part at DDB however they do use illustrators and they do get a lot of illustrators contacting them..competition is fierce! Daniel gave us advice on how to email our work professionally to people in industry, he said to keep the writing minimal and to make sure any emails are not too busy or fussy as they just don't have the time to read them. We were advised to attach a PDF Portfolio accompanied by links to our website and blog. 

Daniel talked about working with illustrators and said to be open to change, and not to be awkward! Daniel gave advice about questions we should ask the client such as:

• Is the job going to run? i.e. if it's going to run over the world you should expect to get paid a lot more.
• How long do I have?
• Usages

Other advice he gave was:

• Do not start the job until you have the go ahead. Daniel suggested asking for confirmation of this so they can't change their mind. Otherwise you could end up spending time doing work and then if the client goes with someone else you have wasted your time and this costs you money.
• Agree costs first before starting the job.
• Send roughs and colour palette to client. This way any changes can be made earlier ensuring the client will end up with what they want.

Unfortunately Daniel didn't have time to view our portfolio's which was a shame but the meeting and his advice was useful. 

Portfolio visit with Rapport Events

Today I had a portfolio viewing with Chris Platt and Paul Rose at Rapport Events; they are an events company, based in Manchester's Northern Quarter, who are always looking for new ideas. I thoroughly enjoyed meeting them and got some great positive feedback on my work! I showed them my portfolio, handmade book and my paper cutouts (which I keep safely in a little box)! 

I spoke to them about my plans for my Final Major Project and the fact that I am experimenting on a larger scale, almost an installation I suppose. They seemed very excited about my 'tent' idea and we discussed what I could do with regards to shadows and lighting. Both the guys told me they could see potential within my work, and talked about me collaborating on a project with them! 

We discussed the options for my work, maybe making a stop frame animation out of it, or filming one of my pieces rather than just taking a simple photograph. This is very exciting and would benefit me hugely to have the opportunity to work with them. Also I feel this is the next step for me to experiment with different techniques, and it would be great to have their experience and skills to make this happen and learn from them. 


Even if my work isn't used it will still be great for my portfolio, and great to have the experience of working with people in industry. They were very friendly guys too, and really enthusiastic which is very encouraging! 

Visit to Lord Whitney

Recently I have been arranging portfolio visits with artists that I love to show my work and see what they think! Also to ask questions about industry and hopefully find a way forward instead of just fumbling around in the dark! I'm realising how important making connections is and how it can lead onto things.

I was so excited to have a chat with Lord Whitney on Friday. I met the girls in Leeds at a studio. I was welcomed by Bek and Amy and they took me into the 'Not So Bored Room' which they had designed. I loved it in there, it was not what I expected at all (after being greeted in a warehouse type space). There was jars and bits to look at, and lots of wood! I think I liked it because it relates to this idea I have about wanting people to experience or interact with my work, rather than just looking at a photograph of my set in a flat form. I was welcomed in and they kindly made me a cup of tea while they looked over my portfolio.


Both Bek and Amy were very encouraging about my work, and I feel I came away with some great advice with regards to self promotion (business cards), and enhancing my portfolio. I explained problems I face with executing my work with regards to photography, and that I worry about not having access to the photographic studio once I leave uni, the girls said they had same problem and gave me tips on how to accomplish things at home (this includes a white sheet for the back-drop, lamps and a digital camera)! They were very reassuring and encouraging, I really did find talking to them very helpful and inspiring. 


After the meeting I felt very happy with their comments about my work, and really inspired to crack on with things. I got quite a few ideas from things we spoke about and I am very excited to create now. Thanks Bek and Amy! 

Portfolio visit with Hattie Newman

On Friday I visited Hattie Newman at her studio in London to show her my work and take any advice that she could give me about industry. Hattie was lovely, and we had a chat over a cup of tea while she looked at my work. 

I loved being in the studio space and could really see myself working professionally in that environment. There was lovely bits to look at, and books and magazines everywhere, I found it really inspiring.

I have loved Hattie's work ever since I discovered it, and felt it was important to get advice from her as we work in a similar way. I really found the meeting helpful and got tips on how to  get into industry; Hattie said she started out by assisting other artists and eventually she started getting her own jobs. This is definitely something I am prepared to do, and to get experience and an insight into how industry works would be a great advantage. 

 I wanted to know how an illustrator should price their work, Hattie told me that she charges a day rate and advises clients how long she thinks she will need to complete the job. I guess the one real worry I have is the money with this job as it's not steady pay, and I need security as I have a child and a house to run, but if you are good enough and try very hard you can be successful! I won't let this put me off! 

There was a few questions I asked about technique because I want to explore working in 3D, and Hattie does this beautifully. Hattie told me what materials she uses which includes foam board along with a range of other things. I am going to keep practicing and creating, I really feel I need more work in my portfolio, and I'm ready to create! Hattie said that she grew a lot more after finishing uni so hopefully this may happen with me!  

I asked a few questions about how Hattie pitches for jobs, she told me that she would make a mock up of one element to show. I think if I ever have to do a pitch I will do this and accompany it with sketches and maybe previous work just demonstrate my style.

After meeting Hattie I feel really inspired to keep my dream alive and focus on what I want; which is to be a successful illustrator! 

Thanks Hattie :)

Contact with industry

I have recently been trying to set up portfolio visits within industry to get any advice that I can! I have already had a portfolio viewing in Manchester's Northern Quarter at 'Taylor O'Brien', which was very helpful and gave me an insight into industry.

I have contacted a few illustrators that work mainly with paper as I think they can answer more specific questions I have about my working process, and I'd also like to know what sort of clients and jobs they tend to get, and what I should be aiming for. 

I have had recent correspondence with Hattie Newman who has invited me for a visit in the new year, which I am very excited about! 

I hope the other artists I have contacted have time to see me as it would be very interesting and beneficial..I will keep you updated with any visits!

Visit from Lord Whitney

A few weeks ago we had a visiting lecture from Lord Whitney. 

Lord Whitney are a collaboration between Amy Lord and Rebekah Whitney, They are two university graduates that have set up business together and they do some very exciting work! They are playful and inspired by all things wonderful! They have created work for a wide variety of events from festivals to exhibitions, they enjoy creating magical environments. One particular festival they continue to work on is the 'Just So' festival, it looks wonderful! 

http://www.justsofestival.org.uk/

http://www.lordwhitney.co.uk/

They have so many amazing pieces of work, I have posted a few of my favourites above. I think I can relate to them as I work with cutouts and suspending elements. They tend to work with a 3D aspect and on a much larger scale which I feel is the next progression within my own work. 

They spoke about their journey from being graduates to how they have got where they are now, and reassured us that it can be a struggle but to persevere. There doesn't seem to be any set path but to just try new things and knock on a lot of doors! They advised to begin by doing work for free, this is great exposure, but also warned us not to let people take advantage.

 I asked the girls what  working in a partnership is like, and wondered what would happen if they had different ideas on a project, but they said they seem to cope with this fine and tend to agree on the same things and make decisions together. It made me realise that I would like to work alongside someone but it would have to be someone I fully trust with decision making, and someone who has similar ideas and ways of working as myself.

After the lecture Lord Whitney visited us in our studio and set us a quick brief. The brief was entitled 'Compound Nouns'. We had to mix two words together that wouldn't usually be associated, and then create whatever we wanted to illustrate this.

I worked with Emma Thorpe, we started by writing words on pieces of paper and picked them out of a mug! The compound nouns we had were 'jam river' , 'spoon moustache', 'ribbon tree' and 'cutlery tent'. We decided to create 'cutlery tent'.

We had so much fun on this brief and got stuck in straight away, we had almost completed the brief by that afternoon! We learnt we worked well together and there wasn't so much pressure on yourself when you have two peoples ideas and two peoples input. 

Here are a few pictures of our creation!

       

We would like to continue this brief if we can find the time! It was very enjoyable and I think we could create some great work!

Portfolio Visit at Taylor O'Brien

Today I had a portfolio visit at Taylor O'Brien in Manchester's Northern Quarter. 

I researched before my visit and was apprehensive as most of the work they do appeared to be digital. I didn't know if my hand crafted style would appeal but I received great feedback!

I gained an insight into industry and how tight the deadlines are in reality, sometimes with a 24 hour turnaround! This could be a problem with my process of working. I cut elements from paper, suspend them and photograph the pieces as a whole to get my final image. I was advised that the problem I could face would be clients changing things last minute and my work (once finished) is not very flexible. Helen O'Brien suggested that book covers, cards and other commissions with a longer time period to create images would be suitable. I do not like to  photoshop my work but I think maybe learning some new skills on the computer would also be handy!

Helen suggested I contact a few people that she knows that specialise in events and exhibitions, as they use set design at such functions and my work could appeal on a much larger scale, which is great because my next urge is to create much bigger artworks using a similar style to the one I have now. 

In the meantime I will be continuing to contact illustrators that work in a similar way to myself for advice on the problems I may face and how they work around them. I will also ask what sort of clients and jobs they get. I have researched other artists that predominantly work with paper and found that an artist called 'Zoe Bradley' does some exquisite shop window display for the likes of 'Tiffany & co' along with other high end brands. 'Lord Whitney' were commissioned to do the 'Just So Festival' and they create lots of lovely 3d pieces for the entire event. I think there are many avenues I could go down and research and contacting people within industry is going to be key in finding my path!

Contact with Kate Slater

I recently contacted illustrator Kate Slater for some advice, and to gain an insight into her working method. Below are some examples of Kate's work, and the questions I asked with her responses.

1. I really like the hand crafted nature of your work. I can appreciate how much time, patience and effort goes into each piece. How long does it take to create a piece? Do you work quite quickly? 

Publishers used to ask me this when I went to see them after I graduated and I used to say something ridiculous like 1 day (they would look rather incredulous). It depends... I have come to appreciate the value of a good rough! I used to make things up a bit as I went along but now I find I work much more quickly if I plan. Perhaps a couple of days to make the image and a day to photograph/photoshop? Obviously completely depends on the work and also the deadline.

2. What do you do to prepare? Do you sketch out your designs? 

Probably some crossover on the last question! Yes, I do for the above reason and also because clients always want roughs. It's a bit strange sending them something that looks completely different from how the finished result will look, but I think they usually understand this! I draw in pencil, scan and colour in photoshop.

3.I find it hard when you have specific size requirements for an image and you work in this method, it's sometimes hard to get the right layout and can sometimes feel as if I am guessing a little. I know if I am working within a certain shape to stick within that shape but sometimes it doesn't always result in what I had hoped for! Do you have the same problem and if so how do you personally resolve it? 

Yes ALWAYS! I think it's basically because it's really difficult to square the camera up with the illustration so it's usually slightly wonky. I try to leave extra bleed and I almost always work larger than the finished image has to be (normally about x 1.5) so there's a bit more leeway. If all else fails I fill in missing gaps down the side on Photoshop. (I feel like I'm mentioning Photoshop a lot but I'm terrible at it and don't like using it much!)

4. Do you use a specific type of paper/card? Or just any scraps you can get your hands on?! ..maybe both? Also do you use any other medium with your cut outs such as paint? How much digital work is done on your pieces after they are photographed?

Any scraps I can get my hands on! Loads of magazines, especially Gardener's World and also home/country ones because they have lots of lovely colours and patterns. Also insides of envelopes, I have an enormous stash. If I need a really specific flat colour I'll buy any kind of paper which is that colour rather than a particular kind. I've also recently started painting some paper to collage with.

5. While I am at university I make good use of the photographic studio, however when I leave I worry my work will suffer without such facilities. How did you made the transition yourself after you graduated?

Ahh, these problems sound so familiar! This is exactly what happened to me. I have struggled a lot with photography and still do to be honest - I'm always asking for advice! For about my 4th ever commission I was asked to create posters for a chocolate shop, one of which had to be FIVE feet high. They dropped that size in the end because I just couldn't do it and I think they realised! I'd ask for all the advice you can get from your photography dept while you're still at uni - what kind of camera you need and lighting etc. Crucially, which I find most difficult, how to take a photo which will print at a big size at 300 dpi!

6. I can see from your website you have been commissioned for illustration jobs. How popular is your work with clients? Do they like the style? 

I think so, it obviously depends on what they're looking for. Sometimes I get commissions where they're particularly looking for a collage artist, but other times it's just because they like my work in general. I think it can be quite decorative which works well for book covers and some editorial work, children's books are more difficult because publishers generally think that collage can be too still and harsh, but hopefully when they see mine they realise that's not always the case! Andersen Press were really helpful - we spent a good 6 months reworking the sample illustrations I'd done for Magpie's Treasure at uni.

7. Lastly I would like to know who or what inspires you? 

Reading, writing, theatre, countryside, other illustrators - Nathalie Choux, Brecht Evans, Lizzy Stewart, Isabelle Arsenault...

I'm so glad Kate replied to me as I found her responses very helpful!