Evaluation for personal profesional development

At the beginning of this year I started buy looking a design studio and agencies, after talks with Si Scott and Mark Howe and a few other people it has become clear that I needed to start looking in to getting myself an agent. I should have already started to apply and find one or a few but at the moment my plan is to build up my portfolio full of illustration as I feel although I have benefited from doing a graphic design course and not illustration I haven't got the best amount of illustrations that I have wanted, I will start looking for an agent but I am planning on building up my portfolio aswel.

I have had design work for Cancer Research which I enjoyed but can see that it isnt the ruote for me, I haven't had any other placements yet but they are coming in the summer, 1st I am designing the setting with a group of people for a festival called beach break which involves drawing and painting my own images at large scale to help decorate and create an atmosphere for the festival. I have done this before and loved doing it. I didn't get paid but got a free ticket and expenses all paid for. This is actually a great place to get recognised and also to keep in contact with the people who do the organisation.
Secondly I have a placement in July with Hallmark cards which I am extremely looking forward to, I can't wait to get in to an atmosphere where you just draw all day and have endless amounts of material to use for decoration. I am not sure this will be the path for me as it is quite comercial and I have a feeling non of my card designs will fit in.I will obviously be able to design something suited and during my placement I will discover whether I love doing it or hate it.

Evaluation

At the being of this module I was worried I would make the same mistakes as last time I rushed in to a brief not thinking about the outcome, and not expanding briefs to make them have more deliverables and outcomes.
I thought long and hard about some of my briefs, how I could expand them and what I was trying to show and why I wanted to do them. I chose a range of briefs which I could set my own tone of voice for whether it being light hearted and fun to a more serious brief. This has paid off as I have throughly enjoyed and been excited about all my briefs (apart from one), meaning I have strengthened my projects as I have been able to enjoy exploring ways to improve them.
Improving from last term I really think I have understood what I am expected to show, a range of deliverables for one, which I think I have accomplished this term and a lot of development saying how I came to my conclusion why I have done what I've done an the process of getting there. I have enjoyed other parts of briefs which I normally settle for “that will do”, like picking the right typeface for my projects and creating logos which aren't hand drawn for a change has really opened my thought about what I am capable off.

My statement of intent was “a hand drawn investigation in to image and type with a focus on publication and merchandise for popular culture” which hasn't changed throughout the module, I think I could expand on “hand drawn” or even change the word to just “illustrated” and be more clear when using the words "popular culture". Other than that I have unintentionally stuck to my 1^st draft for my statement of intent. In all briefs I have created publication or merchandise and they have all been illustrated. I have been able o research well in to my projects and other influences to.
In my Statement of Intent I mention using a wider range of materials and processes which has not been kept, I have managed to print on to fabric and I have drawn on to coconuts but thats only one brief, every other brief I have used digital print.
I would have really liked to have screen printed my owl t-shirts, which I would blame on my time management and that I found it quick and easier to iron on my designs without thinking about the quality. When really my work would have looked a lot better and my skills would have been broaden if I had screen printed.
I think my strongest project is brief 3- cocoaroma, my starting point was just the coconuts which I thought would be fun to decorate but I think the patterns I drew were my strong point, leaving me to want to do more and make anything I could out of them. I didn't rush anything in this brief, the packaging I created isn't up the the highest standard but only because the stock used wasn't correct, which I did experiment with, but I have developed my skills in designing packaging in this brief. In the real industry I think the packaging would have worked better. I have taken a new pleasure in designing logos which I used in Cocoaroma and Brief 1- Parliament. I spend a long time trying out typeface's and realise there is a typeface out there for everything you just need to find it and then adding to the typeface, whether it be my own illustrations or a pattern on photoshop, creating this properly an not hand drawing them has made my work more professional when applying it to other products. Although I should have been using indesign from 1st year I have only just really started this last term which isn't good as I have found I need to use it al the time, but this is a new skill I have to offer now.
I defiantly see an improvement to the way I work from last term. I have been making sure what I am doing is important and that I am not wasting time making something that isn't necessary, making a list of things to do has helped as after writing what you need to do down you never forget. A timetable has been used more than it ever has been which I can see is really beneficially now and has kept me on track by knowing how long I have left to do thing. I find setting myself tasks and not stopping until it is done has instead of coming back to it and then only half doing it properly, this is something I need to do in the future.
I believe my weakest brief was brief 4- fashion cards, I chose this after I had just found out I had a placement at hallmark cards, but they would like me to send them some work which "isn't so scary, and more suitable for Hallmark". However I rushed in to this brief and started aimlessly drawing some girls which I ended up hating and would be only be able to expand in one way which didn't interest me. After delaying it I finally had to get going, and after a lot of trial an error I ended up liking my work a lot better, it is defiantly not me and not what I want to be doing, but if in the future I get handed a brief that I dont like I will be able to manage or make myself like it. I guess this brief was valuable as I may need to expect this when going to Hallmark.
I have covered a range of subject in my briefs and used different styles in each one which is beneficial for my portfolio. I am pleased with all the outcomes and deliverables of each project even brief 4, I think a main part in this has to be thinking about each brief in depth before I start and making sure it is something I am interested in.

design presence presentation

Open publication - Free publishing - More design

My website

WEBSITE 

CV

how to approach an agent

Here are a few pointers what TO DO AND WHAT NOT TO DO when approaching an Agent or Rep.

1. Never send an email that is address to: To whom it may concern. Make sure you know the agency you are approaching. Do some homework and find out all you can about them and get the name of the person in charge or who is responsible for looking at work.
2. Try not to email to a list of people at a time, putting all their emails as cc. That is what the bcc is for and I hate to see the list of people at the top who have all received the same email.
3. Also, whenever I get emails that is address to: Dear Sir/Madame I usually just throw it in the trash.
4. I would suggest that you try to be brief and to the point. No point going on and on.
5. Don’t send too many high rez images at once. I prefer low rez myself.
6. Try and refrain from sending several emails in a row with many different images. This just annoys us and usually ends up in the trash as well.
7. Try not to ask for advice when what you really want is to be represented. I get so many emails asking me for my advice then asking me if I would take them on. We reps are usually very busy or at least we should be trying to get work for the artist that we already represent.
8. If you have questions about the industry then I suggest you spend some good quality time researching these questions on the web. There are so many great websites out there with so much information for illustrators just starting out. Another great thing to do would be to join an association in your country. They are great place to get advice and are filled with several knowledgeable professionals.
9. If you are lucky enough to get in with a good Agent or Rep, I suggest that you treat this relationship like any other important relationship in your life. The more you put in the more you will get out. Also always keep the lines of communication open. Respect and loyalty in my mind is the key.

more research in to agents

The Ultimate Illustration Agents list

And now we’re going to find an illustration representative, an agent…

Don’t we wish it was that easy. Well it’s not. One reason it’s not easy, is that for each illustration agent out there, there are thousands of  illustration artists that are trying to get representation. And this number is probably only going up. The other reason is that (from what I read) even after you find an illustration agent, your problems don’t just go away – but let’s consider that as rich man’s problem and focus on problem number one.

The path is clear, make a list of all illustration agents, submit the best possible portfolio of artwork I can put together and wish for the best.

Deciding to be open about the whole process, I’m publishing here the complete list we created of art agents that accept illustration art.  Please do send me a note if you find any agent that fits this description I might have missed. I’m trying to build the most complete list possible. To save you the trouble I’m also writing below the list of sources we used in order to get the list done. I’ll start with the sources and then place the list:

Where to find agents

1. Illustration Now – The book - if you check the bottom lines, each illustration artist that has a rep reports it. I added agents from both volume 1 and 2 here… I’ll add 3 when I actually buy it.

2. SAA Illustration hub

3. The workbook – a list of representatives

4. Directory of illustration – a list

5. Picture – book – a list

6. A great list at Shannon Associates Artists’ – This is actually one agency that provides a very nice list of  links

7. Nice list at the Folioplanet.com

8. Oh… and I just found this wonderful list.

Why to get an agent research

I have highlighted the important parts for me, some positive and some negative. I think if i was to get an agent I need to know exactly what I am getting myself in too. 

Getting an agent in Illustration

Agents promote illustrators in a number of ways, including, on their websites, by personal one-to-one presentations to commissioning art directors/buyers and direct email-shots. Promotions can take the form of postcards, desktop calendars and brochures. A reliable agency will have built up good relationships with art buyers and commissioners. Clients will come back time and time again if they get good service and quality professional illustration.

Agents work very hard on behalf of their artists and apart from the promotional duties, most will run each project to make sure things go smoothly for artist and client alike. This can be as simple as making sure the artist has been briefed correctly, checking this against what usage and fees have been previously agreed and ensuring the artist delivers the roughs and final artwork to deadline and spec.

An agent is there to look after the artist's interests first and foremost and will negotiate the fees and usage terms on the artist's behalf. They will also offer advice to artists on how they may be able to improve their chances of getting work.

Using an agent's services has obvious benefits to clients and some art buyers will favour working with an agent as they will be more confident they will get a professional job knowing the fact the artist have be vetted by the agent. A client can also tap into a variety of talent in one place without having to traipse the web contacting artists individually.

Illustrators Agents in general will always require exclusivity in the main country they operate in. The illustration world is a relatively a small one and clients and art buyers over a period of time get to know where they can find certain artists. If an artist has two or more agents promoting their work, this ultimately causes confusion and the artist could be effectively pitching against themselves!

When a good agent takes on an artist, he gives that individual a valuable presence on its website but being promoted does not mean the artist will instantly get work. This depends on the artist's style and whether that style is commissionable and the types of clients the agent has contact with. Artwork can be beautiful and eye catching, but the content of the work maybe too abstract or specialised for most clients needs and may therefore result in less or no commissions.

This stresses the importance for artists to try and utilise their style in a wide variety of subject matter to widen appeal and tailoring their samples to potential future uses - you have to inspire art directors and designers to want to commission you. Artists that are able to carry their style across many areas stand a better chance of tapping into different markets and thereby not putting all their eggs in one basket. Artists should always be looking for ways to improve and update their styles on an ongoing basis to keep their work fresh.

Generally, with most UK agents, there are no fees associated with joining an agency other than providing digital and printed portfolio with samples. Some agencies charge varying percentage rates but it's usually around the 30 per cent mark. Agents have different policies on artist contributions to marketing costs and whether artists can keep their own clients.

An agent will look for commercial potential when looking to take on new signings. The work must be consistent in execution and style and have that extra 'wow' factor that sets it apart from the rest. Samples should be tailored to commercial use such as a book cover design or editorial articles. Don't be tempted to include the portrait of your neighbour's dog you did when you were at uni unless it directly contributes to the portfolio as a whole.

The benefits of an artist having an agent are numerous. Their work may be seen by many commissioning clients in all industries and the agent's knowledge on fees, contracts, copyrights and re-usages will be invaluable. In the event of a problem arising with a job the agent's experience is vital in resolving disputes amicably. They also take care of all the invoicing and administrative tasks to do with getting the fees actually paid.

Artists just starting should not necessarily rush out and try and get an agent straight away. My message to illustrators is to do some marketing on your own first and at least you'll find out for yourself how difficult (or easy) it is to get work.

Beautiful Meme

magpie designs

Adam strange

Illustrator Tips

I get a lot of email from kids asking, "How can I become an illustrator?" Here are some tips that might help.
For most artists, skill is the product of hard work. Some ability is important, but you must have the dedication to refine your talent. Few are born with amazing abilities.
It sounds cliché, but perseverance is paramount. You should develop your skills as an artist first. Always look for opportunities to improve.
You should also nurture any relationships with publishers, newspaper editors, magazine writers—people that work in areas where illustration is used. Don’t be overly ambitious about it, but understand that these are the people that can recommend you when the need arises.
As a new artist, you should start small. Get your foot in the door by contacting a local newspaper or weekly magazine. Ask them if you can do an illustration for an article. Maybe they have a story coming up that you can do something nice for.
Don’t plan to make any money off it. Just tell them you’d like to be an illustrator and you need some pieces in print for your portfolio. Let them know that you’d like their input and if they don’t like it they are under no obligation to run it. This includes them in the process, and takes the pressure off.
More than likely they are going to want to see some work first. Don’t show them too many things. Show them three things that are amazing. You’ll get more jobs from one amazing piece of work than you’ll ever get from a hundred half-finished doodles.
If they give you a shot, be easy to work with, friendly, even cheerful. Even if your work is dark and brooding, you don’t have to be. I’ve worked for magazines, newspapers, and ad agencies. The people that continually get work are both talented artists and easy to work with. Prima donnas rarely get work, and if they do, they rarely get a second job. Look up the word “pretentious”. Don’t be it.
If you bring something back, and they don’t like it, be prepared to take their comments with a smile. No one wants to work with someone that gets their feelings crushed by constructive criticism. Everyone gets rejection. More at first, but it never goes away. Ultimately the person paying for the work wants to have a say. If you’re a team player, criticism is part of collaboration. It’s just part of the business.
If you spend a lot of time on something for a local paper and they decide not to run it, don’t sulk about it. Ask them if there’s an artist they like. Maybe you can imitate them. Study that artist. Examine every detail of their work. You want to develop your own style, but at first it’s more important to focus on your technical skill. Focus on getting better before you take another shot.
Draw often. Consider every level of detail in objects, people, anything you might draw. Our minds naturally want to strip away levels of complexity. It’s natural to reduce the world. Fight it. As an artist and illustrator you should revel in detail. Even a tin can has folds and creases you’ve never explored. Learn to draw them from memory.
Don’t give up, but increase your skill considerably before you exhaust all your local avenues of opportunity. Once your technical skill has reached a threshold, people will respond to your work.
Don’t waste your energy on fancy leather portfolios. Focus on your work. Your artwork should be the presentation. If your work is good, people will respond. No one is going to turn away a great artist because his/her work wasn’t in a leather portfolio tote.
If you’re a pleasure to work with, and have great work to show, people will hire you. Just be positive, and stay with it. Anything worth having is worth working for.

Creative milkround

After going to creative milkround where I had a chance to talk to Hallmark, Two Birds and one stone, and Saarchi and saarchi, I was offer a placement at Hallmark which is brilliant news and I am really excited as I have not had a placement and I am looking forward to working in a creative environment.

Portfolio

More beach Break

Im very excited as this will be great in my portfolio and I have never drawn on a large scale before. Beach Break is in the summer holidays so I will have time to prepare my design.

Beach Break

Beach Break is a student festival in Wales which I have been to before, They have art work and decorations everywhere so I decided to get in contact with them.

Letter head

Business card

PEEPSHOW

"Peepshow is a multi-discipinary collective focusing on illustration, animation and art direction."

Look through "peepshows" website I saw some very interesting work. Some I thought were beautiful, some clever and some funny. I would really like to work in a place like this, with loads of illustration styles and ideas. Here is some of my favorite work from the website.

Getting in contact:

Peepshow collective limited

Unit 110, Cremer Business Ctr

37 Cremer Street

London E28HD

02070339299

POLKA

Polka is a multi-disciplinary design studio.

for children book illustration

corporate design

engineering

Based in the UK between bath and Bristol.

contact details

email- studio@polka.co.uk

telephone 01761 453345

I really like this company they do illustrations for stationary, children's books, promotional items, folder design

MR BINGO

Mr Bingo illustrator/animator who work for himself in his studio in Shoreditch in London. I am a huge fan of his work and his work is what i am interested in doing when I graduate.

Her works for big names such as nike, oxfam, orange, absolut, mtv, converse and many more. I have pick out some of my favourite work:

Mr Bingo has also done a lot of well know book covers such as steven Frys QI " book of general ignorance" and "book of animal ignorance".

Kinky illustrations

Although I cant understand what they are saying on their website as it is not in english. I really love the variety of styles and work that kinky illustrations has to offer. I decided to email them anyways just incase they have someone english who works there that can give me feedback.

Heart agency

An illustration studio in London. I feel my style would fit in just right and heart agency they have some very creative work. I have emailed them asking for some feedback but no reply as of yet.

these are some of their portraits. a few of my favourite...

ILLUSTRATION Magazine

David Foldvari

I am really interested in David Foldvari's style and think it is quite similar to mine, he doesnt use a lot of words in his work but when he doesn they are all hand crafted which i something else that i do.

YEAR 3 PPD

The Brief


This module provides you with the opportunity to synthesise your professional/ contextual research, skills and creative intentions with your own understanding of professional practice/ career ambitions and enterprise study developed during level 5. The module will enable the you to position yourself at a professional level for progression to employment/ self employment or post graduate study.




Undertake research to identify and evaluate their personal and professional skills and the career/progression opportunities available to them.
(Research, Reflection and Documentation


Demonstrate specific knowledge and specialist understanding of the professional and contextual location of their practice.


Develop and implement a clear strategy to further progress their employment/self employment/ further study intentions (as appropriate).


Present themselves as a professional practitioner to an internal/ external audience utilising a combination of communication tools appropriate to their ambitions.

portfolio

I had a very different talk with Mark Howe than I did Si Scott as I have been given two different types of advise.
Mark Howe thought that my images were really nice and he could see that I could draw, but he thought I should put the illustrations into context. For example have them on a book and photograph it well. I think this is good advise, and will be doing it for some of the images, but leave some to speak for themselves.
We also talked a lot about my use of colour, and how sometime I have used too much and it has blurred an image and lost detail. Only after being told I saw this for myself and have decided to re do some work where the detail is lost. He mentioned just using black and white and one colour,

Open publication - Free publishing - More illustrations

ENROC ILLUSTRATION

Enroc illustration is a a company that focus's fulling on illustration covering all the possible needs of this matter for their clients. They are a big team of professional illustrators with different drawing styles.

The website give a list of the different styles that a client might be interested in, such as humour, cartoons, character design, realistic and more. The company will then print the images on posters, t-shirts, merchandise and more