Andrew pavitt - Lecture

Andy Pavitt, who I have already mentioned in previous posts, is working at Big Orange studios, which was actually started up 16 years ago by Andy Love and promoted key members of the design industry such as Dan Williams who is still a good friend with Pavitt and Daryl Rees who is now with 'heart' agency, who also recently wrote a book, on 'How to be an Illustrator'.

There has been upto 18 Illustrators working in the space which Big Orange also share with the AOI, which in some ways is a typically a valuable thing, your able to get good advice with contracts when you get commissioned, Help with agents, on their terms for example and there is also the bonus of free membership!

MONEY

Money is typically an issue within the studio, as it would be to any illustrator or anyone for that matter. Individually at Big Orange, it works out at £200 a month each, but this has the advantages too, the Big Orange studio, is a 24 hour studio and so is always open. Pavitt spoke about the problems you encounter when you get commissioned especially if it's a short time scale to complete a job. You may do a few hours, go out for a drink and come back in at maybe 11 o'clock at night and work through the night, as he expressed one of his colleagues has done. I suppose it's not the best thing, to be awake most of the night completing the job, but when it involves the money, everyone needs to have some sort of bank balance at the end of the day. It would be worse for an Illustrator if they had a studio alone, you wouldn't have anyone to share the costs of rent with, and you may not be lucky enough to have the studio for 24 hours and so begin to juggle your time when completing a piece of work.

SHARING A SPACE

Pavitt as I briefly mentioned above the advantages of a shared studio, the split money costs. You also have the privilege to bounce ideas of one-another. It's good when your doubting your work, or you just can't see the wood for the trees. There are a lot of good tools in a studio. It is also somewhere to advertise.

Gathering contacts is an important part to establishing yourself, the Illustrators at Big Orange do share contacts but you have to respect all the work that went into getting them. Editorial contacts are shared but if it's for example, a brochure.. they tend not to.

The equipment is shared at Big Orange, apparantly most of it was already in there when they first started it up. Plan chests, these become one of the vital ornaments of a studio - a typically considered -must- when your building your studio, because of archiving! Paul Davis who creats excess amounts of drawings of alternate scales-  has all of his large work archived in plan chests and other smaller work in storage boxes. The organization of your work, becomes very important when your in a studio with that number of people. On visiting the studio, I was quite surprised with the neatness, it was everything I expected a design studio would be, and it wasn't at the same time.

LOCATION - WORKING AWAY?

Pavitt mentioned, that to some extent the location of the studio was important. Big Orange is in the middle of Shawledge, which is a lovely part of London, but full of fashion victims! There is also the getting to your studio, if your quite a way from your studio, there is the time it takes to get there in the morning.

Pavitt stated the same would apply here, not just in London. Ben Jones is based in London, but works up here in Manchester. Pavitt was very encouraging at expressing that the Location isn't everything. Obviously it would be easier being closer to the agency to some extent but most illustrators work digitally and send their work by mail. But there is also the advantage of making contacts if you are working in London, where all the hierarchy agencies are based. One thing to remember - work hard and let people know you are still around. Remind people of your work and style. If you give them means to remember, a business card or postcard for example, they may just have a job going at some point!

STUDIOS

At Big Orange the rent costs, well, the studio space, an individual space is £200 i mentioned. For a painting studio, you could probably find something for £100 a month, but thats just a white space painted, boarded, room with a window. There becomes a spectrum, from bad to good in terms of studios. The better end has meeting rooms, phone lines which isnt always so important if you have a contact mobile, but internet connection!? well there's a must! For just that bit more money, you would be able to sort some of these things out.

Pavitt stresses, for him the 24 limit of a studio, is a must! Most studios don't. But it's really important to check when your own your way to finding one. The clients don't take into consideration the deadlines, and the time you have to create illustrations. This includes the sending of roughs and then final imagery which will ultimately need altering. But, Directors, don't care how it gets done but instead they believe it to be a privilage for you because they are the ones in the first place, giving you the job! They expect the job turning round quick.

The DISADVANTAGE of the studio, is the dynamic of it, sometimes, you come across the wrong personalities, people who don't fit in; ie. certain music tastes. Little things that enable people to get on. 6 years ago, it was about the style of the work, but now it is based on the personality of the illustrator with regards to whether they fit in. Pavitt calls it the vetting procedure. Big Orange has a reputation. It hasn't yet happened that someone has not yet met a deadline. If one person misses a deadline - that is, theses clients will then pass it on further. You will lose credibility and no- one will want to commission you based upon this fact.

ESTABLISHED

Because Big Orange is established - people like Cheryl Taylor went in but came out to only be going further up the ladder of success. If you go to an art director they instantly know who you are. They know good people that have left. Cheryl would say she got a lot out of the studio when she went on an internship there- she had the opportunity to make a lot of contacts - mark farrow, adrian shaughnessy.

DAILY MAIL - has good pay and also longer deadlines.

GUARDIAN - the profile of the Guardian, is very high but they don't pay as much. But you have to think about the thousands of people that will be seeing it, it becomes self promotion.

NY TIMES  - You could pick up jobs away with company's such as NY Times but they give you a phone call and expect a job turning around almost instantly despite knowing you have to work through the night.

It's very prestigious but thats why it's crucial planning the studio. You need to keep an eye on timescales if it's away. It may be monday here, but it will be tuesday there. Sometimes you struggle to complete it for a deadline and then send it but don't hear a response for a week or so when they may have been pushing you to complete it by a certain date. 

Big Orange rarely work together and do exhibitions. Pavitt once did a book with Davis. But there isn't always time for 'fun' which is how Pavitt sees it. Paul who is the art editor for the drawbridge newspaper in London, usually commissions people he knows, whose work he knows is of a high standard but Ben stated within the talk that it's very free work, in terms of how open it is - 'you can do what you like'.

The Designers Republic

The Designers Rebublic was a Graphic Design company established on the 14th July 1986. The have done numerous designs for bands/ companies, produced record labels and also collaberated on Sheffield's Echo Installation for the 2006 Venice Biennale. However in 2009, after 23 years of trading, TDR went into voluntary liquidation. Ian Anderson who was the founder of this company bought back the companys name and assets.

 

I found an article about this within the new issue of EYE MAGAZINE, and the reason for including this within my contact reports, is not because I have been in touch with the company but, there is an interview following the article talking about the work Designers Republic created. The questions discuss topics of practice that I have been quizzing relevant practitioners on. Simplicity and communication issues.

"You were quoted on saying: 'We find it difficult to do anythin simple... Detail has almost become an obsession' ('Go-Faster graphics', Eye no. 16 col. 4). Does that still stand? Did that approach make it difficult to turn a profit?"

"The devil is in the detail, and more is definately more, but sometimes less is better. The detail has become less an output than part of a thinking process. It depends at which point your thinking engages with the tools and the means of expression and production. People always tell me I think outloud. I formulate and rationalise my ideas throughout a conversation, which can be quite disconcerting for new clients.

Some of TDR's busier work was a graphic design expression of that process of looking at the job from every perspective, layering up those perspectives and content, then almost visibly, forensically dismantling the structure to reveal what lies beneath, discarding everything that is wrong, and by default leaving what is right. I don't feel it's so important to go through that process physically anymore; the multilayering and discovery is more a mental intellectual excercise. I'm interested in simplicity right now: big questions, big ideas, global pancultural expressions. And, yes, because time is money, then making something work to a level I'm happy with does take more time."

"Sometimes you reveal in surface, though, and declare that that's all there is. At other times you're upset that critics and fans alike don't understand the concepts that have sparked the visual response."

"That's fair comment but the key is that TDR does revel in the surface - knowingly. And, for me, if you look deeper into the language we use and how we structure it within a context, it's clear there is something happening beyond the pure visual aesthetic. Two people tip buckets of water over their heads; one needs a shower, the other is a fluxus member creating an intervention and making a statement. We're all too pigeon-holed, life's too frenetic.

We don't have a God-given right to expect someone to invest their time in decoding our work, I don't expect it, but none of should assume there is no value in something when we havn't bothered to look for it. I don't want to dumb down our messages in the work; I don't want to make it obvious to everyone. I still believe information should be achieved and not given. I don't complain when people don't look deeper, I'm disappointed when they don't. I hope it's because they have something better to do, rather than because they've given up looking."

"In relation to detail, how do you decide when something is finished? Is it often a point of contention  with a client? And similarly, when the message needs to be 'unwrapped', how do you come to a consensus that a design is successful?"

"Something is finished when we have done what was asked of us, and we have delivered what we promised. Then the job is done. If a client wants more, or we feel we need to explore the ideas further, re-evaluate the deliverables, then that is exactly what it is: more. Surprisingly we've had very little contention with clients over work process and relationship during s project. I've learnt the advantage of developing client relationships and identifying opportunity with those clients. 

In theory, the client is better placed to determine if the design is working, for them, as they should know their business more intimately than us. However, the responsibility we take on is to deliver  a solution based on an understanding of the client, and it's often the case that we can help them in seeing the wood for the trees. Sometimes they're too close; we're in a privileged position, like official biographers or hairdressers, to offer a perspective. How consensus is reached depends on the personality involved."

TOO MANY DESIGN GRADUATES? - Otto Detmer & Ben Jones

Dettmer, came to Stockport College to give us a talk about his work, I have always been inspired by the simplicity and communication of his work. He has done a lot of self-promotion to get him where he is. 

'As a Graphic Artist he like to push the boundaries of graphic expression. With the books he creates a series of images to form visual narratives. In this context Detmer can experiment free from the constraints of commercial pressures. Although the books are for sale, it is not profit that motivates him.

The contents of the books deal with mythologies in contemporary culture, such as consumerism, work-ethic, self-destruction. The work is screen-printed, ink-jet printed, or photocopied.'

I sent him a question about his view on success and failure for graduates in the design industry.

"what makes the difference between success and failure when trying to establish yourself in the design industry?"

I think it's a mater of doing your best with all jobs, being tenacious, keep on developing your practice.

SELF PROMOTION & DEVELOPING YOUR PRACTICE

Detmer was very short but straight to the point with some his answers regarding the questionnaire I sent out, but the developing you practice Is an issue I have heard being talked about quite a lot. If your promoting yourself, constantly, this will also develop your practice in the work and keep you open to design issues and what is about within the industry. I think most people leave college/ university and wait for people to call them. It's not the case anymore, maybe in the time Salisbury was talking about, as there less Illustrators and so more jobs going. and newspaper jobs run daily, they need to have someone fill the gap. With promoting yourself again, you keep your options open.

BEN JONES

Ben Jones, an ex-graduate who has been working in London for the Guarding and produced work for the Drawbridge newspaper, was also talking to me, and encouraging me. I asked if he had any advice about how to initially get yourself out into the wide world from University, in relation to the way he went about it as he left college, what did he learn?

He told me, to always be developing work, atleast a new image everyday, a drawing, a sketch, a juxtaposition of medias. You not only begin to form an archive, like Paul Davis for example, who is working as an Illustrator; but is also the art Editor of the Drawbridge newspaper for London, but you begin to sometimes have a different approach to working, because of whats going on around you, you wont necessarily adapt to a style of someone else, but he told me, the majority of Illustrators had two styles. This could in some way give you more of an advantage to getting a commission, being able to adapt to a brief.

With the knowledge of Ben being an ex-graduate, I thought to have a range of opinions not so much from different fields, but where they are now, whether or not these practitioners would suggest alternate approaches because they are all in separate areas of illustration somewhat. Ben has recently come back to Stockport college to teach for a few days, He has gone from being an established Illustrator to teaching. 

I asked him about this also, and why he did not just stay working in London, he said that sometimes it gets hard, you don't always have jobs no matter how much you promote yourself, you still have to equip a part-time job on the side to be able to pay for rent of studios etc. The upside is that your doing something you enjoy!

Following the visit from London and a few questions when he joined us at Stockport, I further sent a mail over to him with a few brief questions regarding my practice in Illustration and the design industry. Again, I asked the specific question to get his view.

"what makes the difference between success and failure when trying to establish yourself in the design industry?"

Acting on things! Try to always be creating new work, contact people, get your work in front of people. Art directors need to see your work before they can commission you. Some times that means going to London to show your folio or posting work out, emailing ect. Try not to rely on the internet tho as there are allot of illustrators out there with websites so art directors wont seek out illustrators you have to show them what you can do first before they commission you.

SELF PROMOTION AND INTERNSHIPS

Again, self promotion, but, when I was in London, I learnt of an Internship that goes on every year, in which, either one or two students has the opportunity to go to London and work with Big Orange studios, and Art Director Andy Pavitt. You have chance to produce work for a real commission and also another big chance to show your portfolio round, this enables you to make more contacts in your time there, and if the job is successful, you also have a piece of design work under your belt. Cheryl Taylor, as I've learnt was the first of the college graduates to get the opportunity, she now works for SYNERGY agency and is a full time designer. 

I was asking Ben who is close friends with Cheryl what made her so successful going from University to becoming a designer, and he said it was due to the contacts made while she was in London on her internship, she made the most of the opportunity. There is also that chance that you may gather contacts from other people working around you, I suppose this is an advantage of working around people in a studio, being able to bounce ideas of one-another. Obviously you cant persistently share contacts because then the other person wouldn't have them but being in a place where illustrators like Andy Pavitt and Paul davis have been working for agency's and have contacts they then can offer there advice on what you should be doing there and then. An internship in my opinion, is one of the biggest chances you should get if your leaving university, I almost see it as a stepping stone.

TOO MANY DESIGN GRADUATES? - Martin Salisbury

Martin Salisbury, as you know from previous posts, is now an author/ illustrator, I thought for this reason, it would be good to ask him the bulk question I sent out about the success and failure of illustrators in the Industry. I thought Salisbury, being an author and having written about Illustrators, he would have an alternate view in comparison to Blease for example who is presently working in the Industry. As Salisbury is teaching, he would also have the knowledge and opinion based on his students. He would be able to see who has the initiative to go far and progress further if they wanted to.

"what makes the difference between success and failure when trying to establish yourself in the design industry?".

* It was very different for me. there were very few illustratots in the late 1970s when I graduated. i got a job from the first publisher I visited!

I suppose it wasn't really an answer I was looking for based on what I have described above about Salisbury, but I suppose you could say from this response that possibly Luck can sometimes play a part. But more importantly as Salisbury stated in the time he graduated, there were very few Illustrators. And so, new illustrative talent was always needed. I have wrote in a post earlier referring to a article that the number of illustration graduates is by far more than the magazines and books and newspapers of today and so its not that your work isn't what agencies are looking for, yet most of them are always open for new talent, but instead that there are no jobs around. All you can do is promote yourself and remind people of your work, make them believe that you have what they are looking for to some extent.

TOO MANY DESIGN GRADUATES? - Gillian Blease

When I was in the process of sending out a questionnaire to relevant practitioners within the field of Illustration, Gillian Blease was my top hit, due to her approach in Illustration, she works similar to me, with her bold use of shape. Presently it is something i'm trying to perfect yet she encouraged my use of textures and to maybe be a little more experimental with colour. 

Within questioning Blease's work in relation to my specific practice, I chose to ask a question, which again, i sent out to most of the practitioners I contacted to get their view on..

"what makes the difference between success and failure when trying to establish yourself in the design industry?".

Making your work visible – whether by marketing or by having work in very visible arenas. It’s really necessary to keep reminding people that you’re still out there working by doing mailshots and keeping in touch with those you’ve done regular work for.  Try to get yourself in artbooks and exhibitions. Also, professionalism. No one will want to work with you if you consistently deliver work late,  can’t take criticism or be prepared to change your work (within reason). 

PROMOTION & CRITICISM

Obviously Blease believes, that it is about self promotion as to getting your work seen, going round with your portfolio, mailshots, anything that reminds people of who you are and that your still out there, prepared and looking for a job. But also being prepared to take criticism, yet the more you get out there, the more likely you are to get a job. If you cant interpret criticism, your hopes will be diminished within the first portfolio meet, but if you interpret sometimes what they have to say to your advantage, maybe next time, you just might hit the right note. To some extent your work has to stand out in its own way, be original, be different yet if you look over and research into a company or agency, the guardian for example, you have to be prepared to take on a job that needs illustrations completing hours.. will you be able to adapt to this? if you begin to deliver work late, then no one will want to know, they wont want you working for them.

TIME & WORKING METHOD

After reading Blease's response, it brought to mind, if whether or not because of your practice that some ex graduates may not have been able to deliver illustrations in time. When your at college, you have all the time in the world. When you have to adapt to the roles as an established illustrator, you have to deliver! in time, and quickly. If you work in a mixed media way or maybe creating pieces at large scale, you may not have the job done in time, is this is why so many students cant adapt to the establishment? This only came to mind, as it was a process within my practice that I use to work in, I created wooden canvases, the outcome was sometimes beautiful, yet if I hadn't got the correct measurements for it to fit the format of the illustration, I didn't have time to adapt it, the same way you can on a computer. If I was to have been commissioned at this stage, I wouldn't have been able to go back and alter it, due to the working method. I now develop my work from a mixed media process which is then progressed digitally, this has enabled me more time to complete design work and to be going back on it for alterations which you would most likely be getting if and when you get a commission. 

-- Establishing yourself --

Upon starting an Illustration course, I was under the impression as anyone would be that you have to be a good drawer but thats not necessarily the case, its a misconception, some illustrators dont draw just for their own commercial practise, instead working in alternate method of design that comes naturally to them. The biggest failure as ive been told is the failure to understand the different skills you need to create a good illustration.

I read to become an Illustrator, 'you need to know what publications exist, who publishes them, and how to get a publishers attention'. Going around talking to people, showing your portfolio to various agents and companies. Art directors, can tell the difference between a good and bad portfolio. They can tell the difference between a student and an established designer already within the design industry.

When I was in London, showing my Portfolio around, I among other students had a potfolio meet with YCN an agency promoting illustrators. They obviously knew we were students, yet they were pleased with the work, yet, they stated that possibly the work would look a lot more inviting in its original form and not as a digital copy. Beacause the majority of illustrations that we see today are in newspapers, magazines books, they are flat and sometimes without the expression a piece of work in its developemental stages. YCN said to change the scale of some images, which sometimes enables the illustration to jump out a bit more and catch the directors eye. The Industry today is always looking out for new illustrators, fresh talent. Yet it is wrote within 'How to be an Illustrator' that,

'The number of new illustrators entering the field each year easily outnumbers the number of new magazines launched.'

A FIELD OF SKILLS

To any illustrator, this becomes a bit of a worry, not being good enough, the right material, and it lessens the chances of a job. Although I have noticed that illustration today has many fields of design, animation and graphics for example sometimes merge together, and so developing your knowledge of these skills coud open up new doors with your experience.

Ian Whadcock worked with Damian Gasgcoine to produce Illustrations and animations for the adverts and stills advertising The 'Switch to powergen'. Obviously Whadcock produced the Illustrations and Gascgoine created the animation, but Whadcock would have had to design more than one rabbit for example he would have seen the creative process going on, and he may have been commissioned further for other relating jobs like this - adverts as such. So opening up your skills could be a good approach or atleast a fallback or maybe something to keep you going until you have your chance in the industry if you dont quite make it straight away.

BEN JONES- D&AD

Which brings me to Ben Jones, whilst I was in London, I mentioned I got a chance to talk to him about his career as an illustrator. I had a further discussion with him in college. He stated from University, he got selected for the D&AD which is an educational charity that represents the global creative, design and advertising communities. It becomes a chance for a practicing illustrator or someone that has just finished or is just finishing University to have their work seen by a wide variety of Agents, Art Directors, Advertising companies, and publishers, so to be commissioned from here, well, you've almost got the cat in the bag. 

Ben Jones spoke to me about how he got his fist commission from staging his work at D&AD. He also had further commissions from this, yet he came to a point where he didn't have any work and he said the only thing you can be doing at first is promoting yourself, ie. taking your portfolio round to various directors. It also helps if you have already worked for someone.

PERSONALITY

When Andy Pavitt, who is the Art Director at Big Orange studios, came to give us a lecture and work with us for a day we questioned the lifestyle working around other people for a start and being able to bounce ideas of each other but we also asked about how illustrators working there presently have 'fitted in' with the Agency. He said it reflected upon the personalities. well.. most of the time.. i suppose with clashing personalities, you wouldnt get on, you wouldn be able to question someone about one of your designs, you couldn't share opinions. there would obviously be conflicts. yet when certain personalites have joined and blended with pavitt and past/present illustrators, the studio is easier run. With a bad personality you could also have a run in with money problems etc.

Im not suggesting the future of becoming an illustrator depends upon your personality, yet, the personality brings the decision-making process, the ideas and opinions towards a commission. your practical skills give you a means to express yourself and your work, and if you have a means to express, you have a means to promote, to go round and show your portfolio to as many people as you can. 

ADVICE

When producing a design piece, you have to listen to opinion and advice and at the moment, for me, constructive criticism. At the end of the day, you have to enjoy what you do, and so someone else's opinion isn't always the 'right thing to do'. Ultimately everyone has a difference in opinion but upon establishing yourself, you only need interpret the opinion and not necessarily act upon it, learn from it.

I would say that without gathering the advice and difference in opinions for my work I have been doing, I wouldn't have noticed so much a successful illustration to a bad one. Because i have interpreted some of the advice, I can then see where I am going wrong and what I need to do, to make a more successful illustration. I'm not suggesting I'm the next sara fanelli but obviously you need to be aware of successful illustrators, what makes them successful, and what a successful illustration consists off. 

Sarah Hanson - Caroline Tomlinson

Sarah Hanson has been working with the AOI for a few years now, I remember finding her work in the first year and almost writing to her in the second year but I had run out of time. I chose to mail her this year, due to her initial practice and how she creates her images from looking over them, she has a very much hand crafted technique similar to my own practice. Her work reflects similar design concepts to Martin O'neil and Michelle Thompson. Last year I mailed Caroline Tomlinson, who too, worked in a similar style. Although the work doesn't resemble my own in terms of the 'look', I am taking into consideration, the process and practice to how these illustrators have produced. -The technique of hand-craft- illustrations and how this practice has dominated in some illustrations, in comparison to computer-aided design, which has become a talking point of the illustration industry. I posted an article about hand-craft my David Crow a while a go.

I have sent an email to Sarah Harison about her working method in relation to my own, trying to question the problems I sometimes have, questioning her advice.

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Dear Sarah,

I am a student in my final year of a BA Hons of Illustration. I came across your work on the AOI website, and wanted to write to you last year about your work but sadly got pushed back with time. Your Illustrations are remarkable and constantly inspire me!
As part of my degree, I need to build up information about Illustrators/ Designers and the Design Industry.

I know how busy you are but was wondering if you get a spare moment, I could have your opinion on a few questions below?

• What are your influences and what inspires you?
  

• How close is a final piece to your initial conception? Do you create roughs, or is it a case of 'play' with elements?

• What would you say makes the difference between success and failure when trying to establish yourself in the design industry?

• What was the easiest way to establish and promote yourself within the wide world of Illustration?
  

• Within your work, you to use found imagery as a primary element, which conveys a somewhat layering system to your work; I tend to rely on shape within my work, but still maintain to let photographic elements inform a piece. I began to find that I didn't always have the right photograph for example. How do you source your materials and do you ever struggle to find the right element?
  

• Do you rely on computer programs such as photoshop to assemble your images or is it entirely handmade?
  

• I have included a short PDF of some of my work, I would Value your opinions or any thoughts you may have. Thankyou.

• What advice would you offer an aspiring Illustrator?
  

Thankyou so much for your time, any of your feedback to any of the questions would be greatly valued! I look forward to hearing from you!

Kind Regards,

Sarah Hilton.

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Above are some piece of Caroline Tomlinson, you can see the comparison with Sarah Hanson.

I have also included an email from Tomlinson as research in relation to the to my practice and the practices of those within the design industry.

Dear Caroline,

I am speciafically interested in your collage pieces you have made, they are gorgeous! Ok, 5 questions.

• How do you develop your ideas?

I am naturally a bit of a collector so I have hundreds of old magazines and books in my studio that I can flick through and get excited about new elements that I can use in my work. These elements tend to help me generate ideas and sometimes I start something without a solid idea in my mind and its not until I have spent time working on it, does the final idea present itself.

• Who/ What inspires you to create mixed media pieces?

Peter Blake is a big inspiration for me. He is the King of Collage in my eyes! His mix of collage and type and colour is inspiring.

• Have you had any favourite jobs?

My most favourite job was for an exhibition to celebrate my agents first birthday. It was an open brief as the only thing it had to be was about birthdays. I just had some fun and tried something a little new in my work, a symmetrical collaged frame and I learnt a lot in doing a slightly new approach to image making. It was good fun, and it also won silver for self promotion in this years AOI annual (which is now last year!) Which was rather nice!

• How did you get from being a design student to part of the design industry?

I started as a designer and still do design. However, in the last two years I have moved over more towards art direction which I am enjoying. And it gives me a chance to pull on all the influences that inspire me. Photographers, illustrators and fashion. It's lovely when I work on a project and I have managed to use a less than well known illustrator or photographer who's work I admire. I find that very satisfying. Recently I have felt all my influences have pulled together in what I do, be that art direction, or illustrating. They are just different outlets for my creativity - and both feed into each other rather nicely.

• Have you any advice for an aspiring illustrator like myself?

Work hard! Make sure you leave with a portfolio that shows the best of what you do. Looking back at both my BA and my MA a lot of people leave without a proper portfolio and believe me you wont have the opportunity again to create work for yourself! It's actually a very self-indulgent time, and looking back I wished I had known that in the working world it's hard to give yourself a day to create some new work, let alone a full week! So enjoy it  and work, work, work. It always pays off in the end.

I wish the best of Luck for your future.

Kindest Regards

Caroline.

Ben Jones

Ben Jones was a student at Stockport College, doing the same degree as myself, I was lucky enough to meet him when I went to London, whilst I had a portfolio meeting with Cheryl Taylor. My thoughts were that as an Illustrator, Ben has gone from the same course to a job in London, he has worked and produced Illustrations for the Guardian and the Drawbridge newspaper in London, which is edited by Paul Davis. I thought for these reasons it would be good to have Ben as a contact to compare, with other Illustrators or Agencies with his insight on the 'going about's' of getting yourself into the industry.

When speaking to him in college, He was good enough to answer a few questions for me. In terms of his work, he produces a lot of print illustrations, depicting strong shapely elements with some photographic reference. We spoke about the piece below, which he clarified, was what earnt him his place in the industry, it communicates strongly and has a limited colour palette. It isn't overcrowded  and has focal elements which draw your eye into the spot colours and photographic elements. The composition is well spaced and simple.

I asked Ben about my some of my current work, what his opinions were of it, whether or not it communicated from a general point of view? He replied that it had 'strong visual conceptions yet it was possibly a bit overcrowded.'

Communication seems to be the falling point for me, and so I have begun to mail practitioners about how they produce their work and generate ideas without overcomplicating images, as I always want to add more! - similar to the email I sent back to Gillian Blease. Ben also noted that he too would notice that sometimes he too may add elements without there being any means of them being there, he said 'you just have to strip it back and think about what the image is trying to tell the audience.'

After London, I mailed Ben a few questions about the Industry.

Hello Ben,

My name is Sarah Hilton,

We briefly had a meet in London for a portfolio meet with yourself and Cheryl Taylor, firstly I would like to thank you for your time. It was much appreciated! I have always been inspired by your work, your prints are beautiful!As part of my degree, I need to build up information about Illustrators/ Designers and the Design Industry.

I know how busy you must be but was wondering if you get a spare moment, I could have your opinion on a few questions below? I can appreciate there are a few, but any time you have to answer any of them would be much appreciated!





Hi Sarah
here we go!

• Who and what influences and inspires your Illustrations?

I would mainly say mid century graphic design. Polish poster art favorite being Jan Lenica, 50s American graphic design such as Push Pin Graphics and Dutch graphic design. These days tho I am more inspired by what I read story fairy tales ect, cultural things such as Chinese shadow puppets , Victorian times, the mythology of religion i am getting a bit deep now. I have illustrators I admire but try not to let them influence me to much as work can end up looking to much like what they do. main ones being Nate Williams, Jeffrey Fisher and Sara Fanelli. I love the strange characters that they all produce they seem to give them so much personality which makes there work is a joy to look at this is what I want to do with the characters I create.

• I always tend to overcrowd my images, I want to include just about everything I find all at once! What advise would you offer in relation to the way you answer a brief?

The first thing you need to look at is does it communicate what the brief is asking so if you find your self using to many elements in your images look which elements communicate what you need to say first then get rid of the others. Failing that rather than making one image create 5 different illustrations and use all the elements you want to use.

• Sometimes, I experience quite a few mental blocks when I create an image, and have to have a break. Sometimes I think if I prepared myself better from the start or earlier on, or maybe if I had a strategic approach? But you don't have so much time, in the real world (so to speak). When answering a brief, do you get mental blocks or do you have an approach or method as to how you go about creating your Illustrations? (I'm sorry if that question is very vague, I don't quite know how to word it)

Every body gets mental blocks they seem to happen to me when I spend to much time on a peace of work. The best thing to do is as soon as you get An idea no mater how good or shit it is just make an illustration you don't need to labor over a image sometime an illustration that takes a mater of minutes is better than something that takes days.

• Do you think it is better working in a studio with other Illustrators who you can share your ideas with, as opposed to 'your own private space'? if so why?

It's not really an issue for me I quite like to work on my own I can put crazy music on and not upset any one . I do try to keep in contact with other illustrators as you know Cheza Taylor is one of my best friends, Jo Nelson is a good friend of mine and I get drunk way to much with people from combine illustration. I try to Contact other people in the industry such as Paul Davis, Stan Chow, Holly Wails and Nick Sanders and I always send stuff to YCN so I get feed back if I need from people in the illustration community.

• What would you say makes the difference between success and failure when trying to establish yourself in the design industry?

Acting on things! Try to always be creating new work, contact people, get your work in front of people. Art directors need to see your work before they can commission you. Some time that means going to London to show your folio or posting work out, emailing ect. Try not to rely on the internet tho as there are allot of illustrators out there with websites so art directors wont seek out illustrators you have to show them what you can do first before they commission you.

• What was the easiest way to establish and promote yourself within the wide world of Illustration?

Showing my portfolio around, Post outs and getting involved with things such as YCN. I would recommend setting up a profile on there site www.ycnonline.com. Its how I became one of there illustrators on agency ycn.

• Did you conform to a style that was around at the time you first got commissioned?

Not when I first started. I did a bit last year when Adrian Johnson was doing stuff for Robinson's, but that style just is not me I think it worked against me.

• Recently I came across a piece of your work within the 'Drawbridge' Magazine, and it appears you have an alternate style of drawing that is not so relevant within your work you design at Synergy. Would you say it is hard to remain an established Illustrator upon changing your style?

I am in the middle of changing my style as I fucking hate photoshop these days so I am spending more time away from the screen. The Drawbridge is a fantastic way to play around with image making. Just so you know I am on YCN not Synergy thats chezers agency.

• What advice would you offer an aspiring Illustrator?

Do a drawing every day. Its advice given to me by Paul Davis and I have been much more productive since then.


Last one..

• If you have a recollection of my Portfolio, would you have any advice upon improving it? (I can appreciate you spent quite a bit of time with me already, but if I'm honest I was that overwhelmed upon our meet with yourself and Cheryl, that I got a tad nervous upon what to say, and forgot some of your feedback, I have included a PDF). I'm every so sorry to sound cheeky for asking. I value your opinion very much!

I would just say keep at it. I love your train image its my favorite of your illustrations. Be true to yourself and create the kind of illustrations you want to do and think about what art directors want to see after. Try to remember illustration is just a job and don't be overwhelmed by it People in the industry enjoy looking at illustration and are mostly nice and offer constructive feedback and if they dont fuck em! who cares. Like any other job work hard and you get rewarded.

Hope this will do. I am in collage on Wednesdays teaching the first years so if you want a chat just give us a shout.

Ben x



Thankyou so much for your time, any of your feedback to any of the questions would be greatly valued! I look forward to hearing from you!

Kind Regards,

Sarah x

--------------------

Recently, Ben has joined the teaching posts of Illustration at stockport college, and whilst I was seeing him round, I thought to take advantage of asking him a few questions relative to my work and the industry, to see if he had any advoce and pointers.

----Communication----
you dont have to be massively firurative, people communicate the idea, because of the text, ie if you were working for book illustration, putting contrasting images and shapes, together to draw your eye in, ben said all he would change about my work, he said the images i have created for my book are just a bit overcrowded. the ideas communicate, but again, because of the text in play, the same applies for editorial stuff, and editorial stuff is always simple. the simplest ideas are the best.
Ben also noted after simplifying ideas, to look into graphic design layout. The ideas are simple and communicate instantaniously, and also dutch graphic design, which has more recently been informing me..
-Henrik Workman
-H M Workman.
-Yan Tsichiold

----Agencys/Clients----
when you get a commission with an editorial, in terms of what they want, Ben said 'they usually point you in the right direction, but they dont necessarily give you an idea for the brief.' They tell you what they want, and expect a rough within hours which then gets sent to the client and transferred back to you, which you then finish within the day on average for an illustration as i was asking ben. It all becomes about time management. Andy Pavitt stated that he produced what he likes to call two roughs, one being a pencil rough and the other is a more progressed finished design. Pavitt works quite graffically vector formated and with clients such as the guardian. Even if the work you produce is not done or complete, as long as you have an idea, no matter how good or shit it is, 'in the end, it becomes experience, all you have to think about is meeting deadlines.'

----Ycn----

They started as an agency and made a website for new designers. Ben did an exhibition at the royal college and the ycn looks for new designers, you dont have to pay, it gives you a platform to view and show your work, for others to comment.

----Work----
simple ideas, ben spoke about how the majority of illustrators, how 'two styles'. Recently within Bens work, he wasn't so much getting bored of his work, but it differs from his more recent work. Jo Nelson, has a distinctive style of which has always been significant within her work, Ben says he is completely the opposite, but it's not unusual for this to happen, most illustrators, either change their style or develop work in a different 'trend'.
Ben and Cheryl are setting up their own website/agency, nothing to big, but a way to promote their work they do in the meantime. Both Ben and Cheryl spoke about this when I was in London, and how important it is to produce work JUST FOR THE SAKE oF IT! At the end of the day, you have to enjoy what you do. Paul Davis, too, produces work everyday even when it doesn't go towards anything, at some point it might, or it could spark of new influences and inspirations, to future work and take you in any kind of direction.


When Ben was looking over my work, I was asking whether or not my images are too complicated, as this is where I usually fall back.. If there was too much? he said
'you don't have to be massively figurative, because its a book, and with most illustrations, there is text aside; people communicate with the image, because of the text. As long as there is a visual reference of what is going on within the text, you can't go wrong, just keep it simple.'

Matthew Richardson

Hello Matthew,

I am a student in my final year of a BA Hons in Illustration. I don't know if you will remember me, you came to work with the second years at Stockport College last year, teaching with Jo Nelson for a while. It was a great experience, your work is beautiful, and always inspiring me! As part of my degree, I need to build up information about Illustrators/ Designers and the Design Industry. I know how busy you are but was wondering if you get a spare moment, I could have your opinion on a few questions below? I apologize for there being a few, but a response to any would be greatly appreciated!

• Who and/or what influences and inspires your Illustrations?

• I have noticed your fond use of found ephemera, I always tend to overcrowd my images, I want to include just about everything I find all at once! What advise would you offer in relation to the way you answer a brief?

• Sometimes, I experience quite a few mental blocks when I create an image, and have to have a break. Sometimes I think if I prepared myself better from the start or earlier on, or maybe if I had a strategic approach? But you don't have so much time, in the real world (so to speak). When answering a brief, do you have a strategic approach or method to how you go about creating your Illustrations? (I'm sorry if that question is very vague, I don't quite know how to word it)

• Do you think it is better working in a studio with other Illustrators who you can share your ideas with, as opposed to 'your own private space'? if so why?

• What would you say makes the difference between success and failure when trying to establish yourself in the design industry?

• What was the easiest way to establish and promote yourself within the wide world of Illustration?

•  Would you say it is hard to remain an established Illustrator when there are so many other illustrating practitioners within the design industry?

• You wont have seen my portfolio upto date, but if you get time, I have included a Pdf, I would greatly appreciate your opinion and advice on improving any aspects of my designs. I can appreciate how busy you are but if you get the time, I would be over the moon to hear what you think.

finally..

• What advice would you offer an aspiring Illustrator?

Thankyou so much for your time, any of your feedback to any of the questions would be greatly valued! I look forward to hearing from you!

Kind Regards,

Sarah Hilton.

Matthew soon replied..

Hi Sarah
Of course I remember you (and your lovely work!)
I'd be happy to do the questionnaire, but am pretty up to my teeth with things this week. When do you need the info by? I expect things are hotting up for you at the moment!
Best wishes
Matthew

Dear Matthew,

I'm glad to hear you remember my stuff! thankyou for your compliment!!

Well.. all of my work is due on the 8th of may, but i need a week or so to research after the mail back. Don't worry if you don't have time, I would love for your feedback though! Your a real inspiration!!


Maybe I shall hear from you soon..

All the best in your work!

Sarah x

Regretfully I finish this post with bad news; Matthew was able to reply but only to state that he has been to busy to answer my questions, but he left a few compliments and a tad of advicE!

Hi Sarah
I feel bad I haven't beeen able to send you answers to your questions after all. I'm afraid, I've had a sudden bereavement and just haven't had time at all. Your work look great though - thanks for showing me - my only advice would be don't over-computerise! keep your lovely hand-madeness!!! V goggg luck and let me know how it goes.

Matthew

Gillian Blease

Gillian Blease has been creating graphic illustrations for a number of years, often creating work for the food section of The Guardian Weekend magazine. Ahead of her time in that, it’s only now there’s a visible shift away from the hand-drawn illustrations to more hard-edged graphical design, when her crisp structural renderings are coming into their own.  Blease has also done logo design and advertising illustration. Some of her clients have included The Guardian, Barclays and Sainsbury's. Bleases' work seems to reflect a bold, structural and well considered composition. She tends to see things in a simple light, this in some way is how I would like my work to feel, in terms of simplicity and communication. I mailed Blease a few questions. about the industry, and am now in the process of mailing her a few questions about her working method and practice in relation to my own.

Hi Sarah – this probably covers some of the same ground as the talk I gave. So hope it’s not too repetitive. Good luck with your degree show.
Best wishes
Gill

• What are your influences and what inspires you?

Paul Rand, Hans Schleger, Abram Games. These were some of the first designers I came across when I started illustrating and they really resonated with me and helped direct my style. Other influences are the artists from my fine art days: Julian Opie, Claes Oldenberg, Andy Wharhol, Peter Doig, Terry Frost. They all combine interesting concepts with great design and composition. They have a real simplicity and richness at the same time along with being quite witty or clever. I look at work from all sorts of sources as much as a I can, especially textiles, graphic design (and logos), advertising, childrens illustration and lots of vintage images – posters and books.

• Do you think it is better working in a studio with other Illustrators who you can share your ideas with, as opposed to 'your own private space'? if so why?

I think this is a very personal choice. I know illustrators who need to have people around them and need the discipline of going ‘out to work’ every day and who also enjoy the possibility of collaborating or working as a collective. I prefer working on my own, and from home – it’s one of the big perks of the job for me. I make sure I keep connected through illustration events and meet up with my peers in the evenings.

• What would you say makes the difference between success and failure when trying to establish yourself in the design industry?

Making your work visible – whether by marketing or by having work in very visible arenas. It’s really necessary to keep reminding people that you’re still out there working by doing mailshots and keeping in touch with those you’ve done regular work for. Try to get yourself in artbooks and exhibitions. Also, professionalism. No one will want to work with you if you consistently deliver work late, can’t take criticism or be prepared to change your work (within reason).

• What was the easiest way to establish and promote yourself within the wide world of Illustration?

Initially I sent out home made postcards featuring a few examples of my illustrations and followed many of these up with phone calls to arrange a visit or dropped off my portfolio. I did this regularly for the first few years until I was established. It cost me very little. Now I get postcards printed and have a good quality portfolio, but it’s not necessary when you’re starting out. Lots of illustrators produce their own mailing material.

• Did you conform to a style that was around at the time you first got commissioned?
  

No. that’s a really bad idea. You have to work in the way that feels most natural to you. I went through a period a couple of years ago when everyone wanted hand drawn images whilst I was doing hard edged graphics. But there were still enough clients who needed my kind of work and eventually it came back in vogue again. It’s always possible to have a couple of styles, maybe under different names but don’t try to fit the zeitgeist. It’s much better to make a name for yourself via the strength of your personal style.

• Would you say it is hard to remain an established Illustrator when there are so many other illustrating practitioners within the design industry?

Yes. I’ve been lucky to work with some great clients who I started out with and still work for 8 years later but it’s very easy to be dropped in favour of new talent. It’s important to keep pushing the boundaries of your own work so it stays fresh and exciting for the people who already know what you do.

• What advice would you offer an aspiring Illustrator?

Be dogged. Develop a thick skin. Also accept that your work will develop, get better over time. Also it’s a waste of time approaching people who don’t want or don’t feature your kind of work in their magazines. Do your research – find out names of the right people to send images to at the right companies. A direct approach will be much more successful. And join the Association of Illustrators. They give invaluable advice on portfolios, pricing, invoicing etc.



Thankyou so much for your time, any of your feedback to any of the questions would be greatly valued! I look forward to hearing from you!


Kind Regards,

Sarah x

I have now sent a further message to Gillian, with regards to her working process and the similar fact of her use of shape. As I tend to overcomplicate my designs, in comparison to Blease, her work is simple but has a strong emphasis on communication, hopefully she can give me some pointers to improve my work. I also sent her an image that I am working on presently, hopefully she may have some advice of where I may be going wrong.

Hi Gill!

Your feedback is wonderful and has helped me immensely. I am a fond lover of your work, and always refer to it for inspiration. Currently, I am working on illustrations for a book by Enid Blyton. I was wondering if I could have your advice?

-As my work has developed over the last year or so, Shape has informed my illustrations with a structure and a fresh new meaning, yet it lacks communication. How do you generate ideas for your Illustrations and develop them, without overcomplicating?

-As I tend to overcomplicate and more 'picture-make' I always refer to the idea I'm trying to put across but feel the Illustration is always needing more.. What advice would you offer?

I have enclosed a recent image I am working on, to refer to as an example. 

I know how busy you must be but any feedback would be greatly appreciated!

I look forward to hearing from you.

Regards,

Sarah.

Silly me hadn't included the context of the story!!!! I sent gill a reply with the initial idea.

Hi Sarah – can you give me the context for this illo? What’s the story it refers to?
Gill

--------------------

Hi Gill,

Thankyou for getting back to me, Sorry, I should have known you would have needed the context! Silly Me. Here we go.

Well, within this Enid Blyton Book, 'Mr Galliano's Circus', each chapter has one initial idea or concept. For this chapter, a dog had just been bought and trained to participate in the tricks of the circus- one of these tricks being able to push a pram around on its hind legs. 

They are very simple and do not have any sort of metaphor, but aside of the text, you can tell what's going on.. what would you suggest?

I appreciate your time, thankyou so much!

Sarah x

And so, gillian got back to me, almost instantaniously! 

Thanks Sarah – have to head out now but will get back to you hopefully by the end of the day or if not then definitely tomorrow.
Best wishes
G

..so I'm waiting fro a reply..

Hi Sarah

I think the image you have sent me is competent and nicely drawn. You can obviously handle texture well.

In your note though I think you’ve identified correctly what is missing: it’s well executed and attractive but could be a bit more dynamic. Although the story is set in a circus I didn’t get that feel necessarily from the illustration. It’s a visual context that you could really exploit, both both with colour and shape. The background at the moment feels random rather than specifically tailored to the piece. How can you give the dog/pram more character, make them more visually exciting? Think about how you might be able to incorporate the circus elements – or simply one element that says ’circus’- it might be big-top stripes or the suggestion of a crowd. At the moment it is quite busy and maybe overcomplicated as you point out. The linear shapes to the left and right distract away from the central image and I’m not sure of their meaning. However

It takes courage to leave things out and I still struggle with that. But if you have a strong composition – and I do like the basic structure of the image - you can get away with being more minimal. It’s possible to create a much more taut image (if that is what you want) by really working on this. You mention that you keep referring back to your idea and I think this is crucial. An image is as much a concept as a picture. Personally, if I’m not happy with the idea then a good illustration won’t follow. I have a lot of trouble illustrating other people’s ideas as I find the concept and composition inseparable. How do I get my ideas? I’m not sure. I think my mind has developed this way over the years – it takes a while to build up an approach and pattern of thought. I try and stand back as much as possible, metaphorically and see it in my mind’s eye first.

In sum – it’s understandable that you want to add more to the illustration, and I think the main elements do need some development, but be careful about how you do this. It’s possible to have both more and less at the same time if that makes sense. The main thing is to try and avoid a scatter gun approach and think about where the ‘more’ is really needed/important.

Hope that’s helpful and I haven’t repeated myself too much!
with best wishes
Gill