How to get the most out of instagram

How to get the most out of instagram:

1. Have a clear visual style 
2. Post regularly, on your page and instagram story
3. Only use high quality images
4. Have a link to website/online portfolio
5. Make the comments and content personal - pictures of workspace?
6. Hashtag appropriately 
7. Follow people who are relevant to you - not only other illustrators 
8. Get on trends/make work that is relevant to current world events

When are the best times to post: 

• Avoid working hours and save important posts for weekdays
• Wednesday is the day with the most engagement, followed by Thursday, Tuesday and Monday
• Generally the best times to post are early in the morning 7 - 9am, lunchtimes 11am - 2pm and evenings 5 - 9pm.

Task 3.1 : What makes a good website?

As a practitioner I have always valued simplicity. Looking at websites I definitely had this in the back of mind, as well as many of things AOI mentioned in their talk last year. 

Laura Carlin, Heart Agency

• Image on first page that you open. 
• Work split into different contexts. 
• Big high quality images that really allow you to see the craftsmanship of the work. 
• Limited text. 

Tatiana Boyko, Central Illustration Agency

• Can immediately see a variation of work. 
• Option to click on images to read/see more and then scroll down to click on others. 
• Clear headings - about, contact and social media link. 

Ella Kookoo, Blink Art

• Animated gif as an 'icon' or title, (but no name on opening page?) 
• Work divided into contexts, and then able to click through according to clients - good for reference but may not work for me as a student just starting up. 

Peter Judson, Blink Art

• Clear and bold. The tone of his website suits the aesthetic style of his work. 
• Division of personal and professional work. 
• Ability to scroll or click through work, leaving navigation to peoples preferences. 

Ben Kirchner, Heart Agency

• Work split into clear categories. 
• First page is engaging and full of examples of work. 
• Easy to navigate. 

Mission Statement

Immediate ambitions 

• Move to London
• Initially I would like to try my hand at being a freelance illustrator - pursuing avenues of practice such as editorial or publishing. 
• Work part-time for a creative company focusing on illustrative paper products, clothing or homewares - giving time to sustain a freelance practice whilst maintaining a steady income with the added benefit of working with other creative people. 

Long-term ambitions 

• Become an art college tutor..? - I enjoy giving critical feedback and helping my peers with their work. 
• Set up my own company or business - want to eventually have complete autonomy over my work life and build something that fuels my own specific passions.

OUIL502 Summative Evaluation

Lifes a pitch presentation

OUIL502 Presentation

Studio Brief 2 : Creative Report

OUIL505 Summative Evaluation

Jessica Wheeler interview

After my initial message Jess and I have arranged to have a conversation over the phone tomorrow about her practice. I think this is a really nice way to do it as it would hopefully allow the interview to flow and for her to talk about things that I may have not even thought to ask over email.

Conversation starters/things I want to know: 

What have you found the most successful way of promoting yourself and attracting potential clients? - website, social media, sending out business cards. 

How have you found the experience of working as a freelance illustrator? - do you work from home or in a studio? What do you do during periods of no/little work? 

Looking back now, in hindsight, what advice would you give to me with a year left studying on degree? 

Creative report struggles...

I have definitely been struggling with finding someone to interview for my creative report. It seems a shame that even having contacted a number of people, and following this up with further contact, none seems able to reply...

In light of this I have decided to contact someone who is less well-known within the industry but still successful and relevant to my current practice - Jessica Wheeler.

Jess is a freelance illustrator who has had some recent successes such as her collaboration with Merman Hunters (above), her work for Blue Shop Cottage in Peckham and her illustrations being featured in Oh Comely magazine. I would like to talk to her about these projects, as well as her experience of being a relatively new creative working in the industries - having only graduated a couple years ago from Edinburgh College of Art.

I know of Jess' practice as we were both exhibited at a charity art fair a couple years ago, that I also helped to organise... Due to this I had had previous contact with her on facebook, so just decided to send her a message asking if she would be happy to have a chat about her current practice.

OUIL501 Summative Evaluation

Contacting David Lemm and Anna Kovecses

I have sent some emails out to both David Lemm and Anna Kovecses with the aim of interviewing them for my creative report. I have highlighted both of these practitioners to have synergy with my practice, and I think a conversation with either of them would be beneficial in furthering my understanding of illustration as a discipline. 

I hope one of them get back to me soon...

I have been shortlisted!

A couple days ago I found out that I have been shortlisted for the Penguin Random house design award. I am so surprised, and of course completely thrilled!

My shortlisted design is one for their Children's book award, for the title 'The Secret Diary of Adrian Mole, aged 133/4'. Being recognised within this award has made me think more seriously about publishing as an avenue for the future of my practice. The feedback from the art director I have found really valuable and it is interesting to see that the typography on the design is probably its biggest weakness - which is what I have struggled most with this year and in initially submitting designs to the competition.

In light of this I think I will definitely start looking into this area of illustration more...there are definite aspects of responding to books or publications that suit my practice - the ability to be more abstract or conceptual and the focus on layout and simplification. I also really enjoy researching into in-depth subjects and responding the complex issues or themes.

OUIL503 Summative Evaluation

Atelier Bingo has still not responded :(

Atelier Bingo have still not responded to my letter and print - which I now sent a number of weeks ago. I have now also sent a follow - up email as a little reminder (because they may have just forgotten to get back to me). 

I think if I don't get a response to this soon, however, I may move on to contacting someone else because deadlines are looming ahead!

People of interest are :- 

Anna Kovecses 

David Lemm 

Daniel Fletcher (Yucca Press)

The Mango Club Collective Presentation

Overall I am really happy with our idea and hopefully would like to take this venture forward in the future as a collective. I think our idea was innovative and different, making us stand out against other collectives already working in the creative industries. 

Reflecting on the presentation itself, we ran a bit short of the allotted time, which I think is due to a lack of rehearsal as a group. Listening to other collectives presentations it also seems we missed out on some important points that could have bulked up our content - and if we are to pursue this would need to think about... 

• Being a collective is beneficial to us after we leave the comforts of college, because it gives us a support group. 
• Professional help - who can we talk to for advise? (that is appropriate to our aims as a collective)
• Examples of other similar ventures by other collectives or even charities, which we can learn from..
• Thinking longterm beyond the launch event - how are we going to distribute and make our products? are we going to have an online shop? are we going to hire our own space - shop/exhibition space like Colours May Vary? (this would be a very longterm goal)

Sending a letter to Atelier Bingo

I am sending a letter off to Atelier Bingo, finally! I am hoping this will get a response in the next couple weeks and then I can interview them over Easter.

Here is what I wrote - I am aware that I can sometimes be quite formal in writing so I tried my best to keep it light-hearted and casual. I then added my email in at the bottom as a point of contact. I typed this up first, to make sure I get the spelling and everything right, and then hand-wrote it. 

I choose my favourite print from OUIL504 to send to them - because this is screen-print as well, which is the main process that they use, I think they will appreciate that its hand-crafted (and hopefully like it). 

Here is the final package to send all the way to France. I am finding this quite a nerve-racking experience and to be honest will be a bit disappointed if I don't get a response but I think I have hopefully done all I can to make them feel that I am deserving of one. 

Talking to Ben

In my progress tutorial I asked Ben for some advice as to how to get in contact with my creative presence people for interview. I spoke to him about my ideas to create something but he suggested that this would maybe take up too much of my time and it would probably be best to send something I already have made - like a print from OUIL504. Along with a handwritten letter, sending a print he felt would definitely dignify a response. 

To be honest I found this a bit of a relief. With all the work I have on at the moment I feel that doing this, instead of making something from scratch (however much I thought that this would be fun to do), would probably prove a much better use of my time. 

'Out of Order', Level 6 exhibition at Colours May Vary

I thought that the 'Out of Order', level 6 exhibition at Colours May Vary was very well thought out and put together. I think all their promotion - posters, instagram and window display - was very effective and professional. 

These were my personal favourites displayed in the exhibition, simply because they align quite well with my own taste in illustration and what I value in my own practice. I really liked how they displayed the prints, with the business card holder underneath so if people like the work they can then contact the illustrator. 

I had a look at some of the business cards in order to get some inspiration for the making of my own in the future. Molly Fairhurst's particularly caught my eye, first because of the image, but also because it was a sticker. I think this is such a great idea - giving a business card a function ultimately makes it more attractive, it also shows that you are an inventive and playful practitioner (I think so anyway). 

All I can say is that I can't wait to organise one of our own exhibitions as a group of illustrators hopefully in the future and even more hopefully in Colours May Vary!

Visit to Studio 24, Mabgate

It was exciting to visit studio 24 and see where we will be holding our group exhibition. The space has a very industrial, on trend feel to it and so is somewhere I would love to see some of my work exhibited. The only problem I would identify is that in terms of the amount of people involved, and could be viewing the exhibition, one could say the space is quite small.  However I guess this where planning comes in to find the most effective and strategic way of displaying everyones work. 

I had a look at the website to see how events have used the space in the past. I really like the idea of using these free-standing displays as I think they really suit the tone of space, as well as just being really effective in providing extra platforms through which to display work. 

Adjusting the positioning of these walls, especially using them high-up to display animation, I think could look really interesting as well as provide more space below to display work of graphic design and illustration.

This exhibition is also a really good opportunity to promote my work. I like the idea of having a stall to sell prints, or even red dots to place on peoples work to then provide prints later to those who have purchased them. I think I would also like to make some business cards to display under my work or even give to people on the launch night. 

The Corner Shop

Recently I have created a series of greeting cards for a local shop to me back home that sells homewares and gifts - 'The Corner Shop'. It is has been a really valuable experience pitching my designs and collaborating with the owners to produce something we are mutually happy to feature in the shop.

At times, it has been a struggle to appropriately price the cards in consideration of production costs and the shop mark-ups. Initially there was also the idea of producing a series of wrapping paper, however due to production costs being too high for such small volumes in the end it did not seem financially feasible. I think producing these cards have also shown me that in doing this independently the profit margins turn out to be very small - in the future it would be better if I collaborated with a print workshop to produce the physical products... 

Another learning curve in this mini-project has been branding myself and producing logo to act as a bit of promotion on the back of my cards. I have been wanting to do this in a while, but have been struggling to find an identity I am completely happy with...I think this is a start but not completely there as of yet. 

All in all, however, I have really enjoyed producing these card designs and collaborating with the shop. It has been good to be able to play around with something completely non-conceptual, as well as make strides towards professionalising and branding my practice. 

Presentation skills talk

I found the talk today interesting and it was good to gain an outside perspective from someone who does not work within the illustration specialism. I really liked how he emphasised the importance of our own individuality, and how this should be at the core of how we present ourselves to others (our USP). 

Why do I want to get better presentation skills?

To be able to effectively articulate and communicate my ideas to others - which increases the value of your work. 

Because ultimately being able to appropriately present yourself and engage with others will lead to greater success and more job opportunities. 

Keys to a good presentation 

BODY LANGUAGE and HOW you say your content

Pitch, Speed & Volume 

Do not use crutch words (erm, um, like etc.), try to pause instead. 

Eye contact - engage with ppl in the room. Divide it into sections. 

Make sure your body language compliments/emphasises what your trying to say, and try and avoid off-putting posture/movements

Structuring your presentation

Bookending - begin and end the presentation with the same anecdote, image, quote etc. relating someway to the overall content of the presentation. 

The power of 3! - try to use both in your speech (the good, the bad and the ugly), and in the overall structure of your presentation (announce this at the beginning). 

Content 

- head and heart

Head - what, how etc.

Ppl want to know more about the heart stuff - why? who are you? who is this going to effect? how does it make a difference? 

Task

1.2/2.5 pres. about yourself

Think - content, structure & behaviour

I found these pointers very useful, and can definitely now see how these small changes can make a massive difference in the impact of a presentation and how you engage with an audience. For me, I think developing my presentation skills will definitely be a process that will take time and practice, because I find the experience quite nerve-raking. But, I can see how this will benefit me in the future, as well as during my time at college, so am willing to put in the work :)

Association of Illustrations talk

I found todays talk very encouraging. Its so reassuring to hear that there are people outside of college who are looking to support and champion illustrators. It was also incredibly useful to have someone talk so honestly about what it means to be an illustrator in todays creative industries.

Promoting yourself :

website

• A website is key! It should be image led, with your contact details readily available. Preferably on the first page you should have - Emily Chaffer, Illustration, email and images. Keep it simple and direct. 
• http://iwantmyname.com/ - to buy domain names
• https://cargocollective.com/ - is a good one to use to make a website

social media/blogs

• Blogs are good to have because it gives client a better understanding of your creative process and your most current work. 
• Keep blogs regularly updated! 
• Use your blog to feature personal projects, 'your dream briefs' - successful personal projects can lead you to get the kind of work you want. 
• INSTAGRAM is great! - if your going to do it, do it well. 
• Always be professional on social media 
• If your lifestyle - healthy eating, country/city life etc. - is relevant and part of your 'brand' put it up there, if not don't.
• Behance and twitter are also good - use as many platforms as possible in which ppl can see your work (but again do them well, or not at all)

putting work online:

• Put low res, 72dpi images online so people are less likely to swipe your images. 
• Include copyright sign, or the official note on your website. 
• By putting work on instagram etc. you are licensing this work to them. Always read the terms and conditions of a website/social media platform before using it. 

seeking out work :

• Meeting ppl in person - portfolio reviews (this is coming back...maybe)
• Mailers - post things to ppl. BE SELECTIVE - don't do blanket send outs. 
• Know the person your sending it to - do your research. Make the work you send to them relevant, and add a personal touch. 
• NEVER EVER write Sir/Madam or to whom it may concern. NAMES!
• Email (not as good, can get lost). But if your going to make it small pdf 1-3 images, with a link to your website, social media etc. 
• AOI client directories
• bikinilists.com

Copyright and contracts :

using reference imagery/collage

• Using others ppl work as reference or collage only becomes a problem when you are financially benefitting from the work - selling it basically
• Its also ok for fan art etc.
• BUT, try and make something completely new - your an artist! 
• For collage - go out and make your own stock photos. 
• Not true - if you change x amount of times or you x% its ok. 

negotiating with clients

• Illustrators do not work on day rates 
• Illustrators licence (ie. lend) their work to clients, for a negotiable price. 
• This price relies upon a number of different factors : who the client is, what and how they are using the illustrations and for how long.
• Clients will offer you contracts that are 100% in their favour, your job is to make them fair!
• Giving copyright assignment of your work is very rare, and not a good idea. To do this the payment needs to be in 10s of thousands. 
• Moral rights (don't exist for magazines/newspapers) - Right of paternity, right of integrity. Basically its saying you should be accredited for your work and no one can tamper with your work. These can be waived... but make sure its worthit before you agree. 
• Don't be scared to ask questions and to stand up for your rights.

should I get an agent?

• BE CAUTIOUS, not all agents are ethical
• Its not really necessary to get an agent 
• Its best to become successful first, build a practice and then get an agent once you are more established that is ethical and will champion your work. 

you are your own business

• As a freelance illustrator, you are your own business and you need to keep on top of this!
• As a creative you need to be culturally aware. You can claim back on cultural outings e.g. to the cinema, theatre, exhibitions ect.
• Use apps like zero and quickbooks to help you. 

AOI membership £160.00 a year

Student membership £55.00 a year - from the day you sign up (so could do right before graduation)

You don't need to be the most confident person to deal with all of this, you just need to be savvy and aware :)

How to get in contact with Atelier Bingo?

I have been brainstorming some ideas as to how I want to make this initial point of contact. I have thought of maybe making some kind of book, zine, package or even screen-printing on a letter set to make it more personalised. I would love to do all these things and I think it would show a real degree of effort and consideration.

The way I think about it is that although it might be a bit try-hard to do these things, and seem a bit fan like, ultimately I need to make an effort so that they want to make time for me in return.

Colours May Vary

I found the Colours May Vary talk so interesting, and very relevant to my current exploration of retail or publishing as avenues for my future practice. Running an independent shop like this is also one of my greater ambitions for the future. I love the idea of having a space dedicated to beautiful art objects, as well as running events and workshops for other creatives. 

Becky and Andy's appreciation for the handmade and craftsmanship is something that I feel really resonates with me and my practice. I hope to maybe get in the further contact with them in the future - either for feedback or if I feel that I produce something that would be suitable for the shop. 

What sells best in shop?

• Really well crafted
• Universally appealing
• Well priced 
• When making something for a retail context, you have to consider is this a commercial object? Will the process provide an appropriate price in which all my costs are covered but I can also achieve some profit... 

How do you price something that you made?

• Theres the mathematical way of figuring out the cost of making, how many hours you spent on it etc. 
• In shop they take a 25% - 60% margin - it varies depending on the object. Something more hand crafted, they take less of a margin compared to something more mass produced. 

How do you choose what you stock?

• They're looking for something new and unique. 
• It works as a partnership - they both have to like for it to be stocked... 
• Its all about the experience of the object, not just the visuals - the smell, the feel (tactile), (I found this v. interesting)

How to get in contact?

• Email, email, email! 
• They do not like being contacted on social media
• Go into the shop and leave a piece of work for them to 'digest' (not a whole portfolio though!), with an email so they can contact you. 
• Email with a description of the project, why you did it? how you made it? ect. 
• Do not ambush them in the shop, even if ppl are not around they are still at their job and are busy.. 

What are the difficulties in opening up a shop?

• Its a learning curve - they still feel like their learning more and more all the time... 
• The lack of reliability in being independent is stressful in terms of maintaining a regular income. Have a safety net - library job. It also means you have to adapt and change e.g. now making own stationary because rent might go up. 

Gerry Brakus Talk

I found Gerry's talk very useful and really liked how honest she was about her job and how she works with illustrators. 

KEY POINTS >

Getting in contact/making your self noticed

• Emails don't work 
• Letters can work better - but nothing too throwaway, if your going to do this make a real effort!
• Know who your contacting 
• Their name, job title. e.g. Gerry Brakus, Creative director
• Make sure your work/the work your sending is relevant to the magazine/newspaper content and aesthetic - do research into past issues, the creative directors work, the readership of the publication 
• Social media can be really effective - instagram is a good one to use...

Its a matter of collaboration 

• You are fulfilling the creative editor's vision to some extent - theres an opportunity to bounce around ideas but this will obviously vary publication to publication... 
• You will be required to make roughs, colour tests ect. 
• They will do research before commissioning you - so make sure your online content (website, instagram etc.) represents you so they don't have any surprises. 
• You can be rejected even after being commissioned - killing fee or nothing if its really that off point. 
• Know your audience - are they conservative? Americans, germans and french are less-so and more gung-ho

Editorial - is it for you? what are you passionate about?

• Editorial work is decreasing as publications close down/go online - is it a matter of making editorial gifs? or finding other avenues for your illustration? 
• It is not your job to make your opinion clear within the work - you should be like a journalist. But at the same time you need to be passionate about your subject!

The talk really made me think more about the publications I would be interested in targeting to commission me, and where my work would be most appropriate in terms of being featured within a publication. I am not a very politically motivated person, however I could be interested in producing work for different content whether that be environmental, cultural - film, television, music - or even fashion and interiors.  

Study Task : Industry research presentation

Consider where your practice currently stands and what your ambitions are for it's future

Currently I think my practice focuses on using shape, colour and a mix of figurative and abstract imagery, as well as occasionally found photographs. I really like using handmade processes like print, gouache and cut paper collage. I think these processes are increasingly becoming central to my practice. 

In the future I would like to see my illustrations applied to a range of contexts. Currently however I am most interested in exploring homewares, textiles and zines as possible contexts for my work. 

The creative professionals you have identified to date, their work and the influence they may have on the development of your practice

So with relevance to this I have identified a range of people working within the creative industries that could inform my exploration of these contexts. Some of these are illustrators and designers I admire, some are brands that collaborate with illustrators to create homeware and clothing products and others are idependent publishers, press' or magazines that create or use work that appeal to my personal tastes in illustration.

Who you intent to approach for an interview and why? What will your line of questioning be? How will this inform your practice?

Out of these I have selected Atelier Bingo to approach for interview. I am most interested in finding out more about their work for clients like slowdown studio, tictail, wrap magazine, gorman and many more. I'd also like to understand more about how they function as a collective and their individual roles within this partnership. 

Currently I think my knowledge of the day to day practice and realities of living as a working illustrator is very limited, so I think having the opportunity to question creatives that have synergy with my current practice (like atelier bingo) will be invaluable to my personal development. 

I understand that this contact may be less useful in the of my future practice, however whilst I am still a student I want to use this approachable status to gain response from people who may not still be so accommodating when I leave college. This is also only a small start in the contacts I would like to make within the creative industries, and so I see it as practice for approaching many more in the future.

Creative Presence - A list of contacts I would like to have in the creative industries :

These a number of contacts I feel would be beneficial for me to have within the creative industries. Most of these are illustrators or creative practitioners that I admire and would like to understand more about their practice or independent publishers, clothing and homeware brands that I would love to either collaborate with or run a similar business to in the future. 

Wrap magazine 

Founded by designers Chris Harrison and Polly Glass, Wrap produces a biannual print magazine and sells a collection of paper products made by a range of illustrators on their online shop. I think this would a good point of contact simply because this is a context in which I would love my work to be featured in the future - on both paper products and in a magazine like wrap that focuses on contemporary illustration. It would also be interesting to find more about how the founding of wrap came about and the ins and outs of running an independent magazine. 

Poketo

Poketo is a lifestyle brand that focuses on instilling beautiful design into everyday living, selling a range of products from stationary, publications, homewares and clothing. They work with designers, artists and illustrators to create their own products, as well as collaborating on projects with big-time companies such as Nike, MTV and Disney. The founders, husband-and-wife team Ted Vadakan and Angie Myung, I think would provide a very useful insight in how to start up and run a successful brand - as well as hopefully be a good point of contact for future collaboration. 

Atelier Bingo 

Atelier Bingo is a partnership formed of Maxime Prou and Adele Favreau producing illustration, graphic and surface pattern design. Their work focuses on the use of bold shapes and colour to create abstract imagery primarily using print based processes.  I think this collective would be a good contact because the core principles of their practice and client base - featuring creatives and companies such as element, urban outfitters and Wrap magazines - reflect the direction in which I would like my own practice to develop in the future.  

Slowdown Studio 

Marc Hendrick created slowdown studio out of love for playful prints and patterns - a project in which he collaborates with selected illustrators and artists to produce limited runs of woven blankets.  I think it would be interesting to find out why he selects particular designers and illustrators, as well as how the collaborative process between him and these artists actually functions. I feel that speaking to Hendrick would also be useful for gaining a better understanding of how to successfully produce and distribute illustrative homeware products within an independent, small-scale business.  

Gorman

 

Lisa Gorman founded this clothing brand in 1999, based out of Auckland, New Zealand. I am primarily interested in her collaboration with creative practitioners such as Atelier Bingo, and the process through which they develop the final clothing designs. The general ethos and aesthetic of this brand I think also correlate really well with my own personal opinions and tastes. I think finding out how Gorman developed and successfully ran this brand for 18 years would be really valuable experience. 

BfGf

Bfgf is an art brand, run by Lilian Martinez in LA. I think it would be really beneficial for me to talk with her about how she runs her business - mainly the production and distribution of her products. Personally I would also like to know more about the inspiration behind her practice, as well as her participation in collectives and creative events. 

Dusen Dusen

Ellen van Dusen textiles' brand uses bold colour and geometric shapes across a range of clothing and homeware products. She collaborates with other creative practitioners to create products for different brands and companies, as well as for her own. I think it would be interesting to hear more about her creative practice and the running of this business. 

Yucca Press

Yucca press is an independent risograph printing and publishing press based in Peckham, set up and run by designer Daniel Fletcher. Handmade and print based processes being central to my work, I think small, independent press' like this that support young and emerging creatives will be essential to the future of my practice. I am also just interested in finding out more about Fletcher's practice and how he came to find success within the creative industries. 

Hato

Hato is a creative design agency based in London, that also runs Hato press - a risograph printer and publishing house. I think this would be beneficial contact for the future as I am interested in producing zines as a part of my practice. It would also be valuable for me to learn more about Hato's practice as a design agency - working for clients such as facebook, asos and urbanoutfitters.

Aelfie

Aelfie is a home goods company based out of Brooklyn, New York. I really like their approach of creating contemporary products focusing on beautiful design and crafting using traditional processes. I think their graphic shape-based designs correlate really well with the principles of my own practice, and again I think this would be valuable contact to understand more about how to run a small independent homewares business.