Design Industry and the Recession

To those who believe what the press tells them, the UK economy is on a downward spiral, and we'l be paying for the mistakes of our financial sector for generations to come. As someone who is about to graduate in the depths of what is alledgedly the worst recession for 70 years, im a little concerned about my prospects. This report examines how the recession has affected the design industry, what can be learned from it, and ultimately how can someone in my situation make the most of it?

My inspiration for writing on this subject comes from the fact that all the scaremongering from the media contradicts quite dramatically with what my industry contacts have said. In general, the illustrators that i have contacted have noticed little difference in workload over the past 9 months, but have become wary of turning down any work. However one concern raised by Canadian illustrator Carl Wiens that could seriously affect the illustration industry is the fact that, if newspapers continue losing alot of money, to the point where they go out of business, he would lose alot of important, regular clients. He also added that some clients are taking slightly longer to part with their money.

In the UK, the last year has seen salaries in the design sector drop by up to 10%. As dramatic as this sounds, the significant and probably excessive rises in previous years realistically makes this only a minor concern. What i did find alarming, however, is that as of the begining of 2009, it is reported that 60 small businesses were going out of business every day. Whether this is due to the economic climate, poor business management i dont know, but this loss of competition provides an excellent opportunity for the expansion of new enterprises. Biddy Moroney, an illustrator based in Australia, is involved with two relatively new businesses and has been lucky enough to see them grow over recent months.

The reduction in illustration work is currently making times hard for freelancers, especially those who are not yet established. Its interesting that the first signs of economic recovery for the design sector are predicted to come from an increase in the commisioning of freelance work; a lack of confidence in the market means limited availability of permanent positions, but as clients begin to regain their faith and business improves, they are likely to employ designers on a freelance basis first to avoid having to pay out salaries. Another group likely to struggle this year is graduates. During unstable periods, companies will be less willing to take risks, and place far greater value on experience and those with a proven track record of reliability. The value of a good work experience placement cannot be underestimated.

The best placed to ride out this economic downturn are those involved in the internet and digital markets. This is the only industry to have continued growing through the last quarter of 2008, though at a reduced rate, and 2009 is predicted to be the first year when companies expenditure online will overtake TV advertising. The fact that businesses are still spending money in this area shows the strength of this growing market; "technology needs to be concieved, designed, packaged and promoted". (Exton, Vision 2009. Design Week)

Though some areas of design will struggle and some business will inevitably lose money, we cannot afford to focus too hard on what is at least partially media driven gloom. The last economic downturn in 2001 saw well run companies emerge stronger, with lessons learnt. Attick studios in New York was forced to make half its staff redundant, a difficult decision at the time for owner James Sommerville - but one that resulted in Attick going from being "a sprawling organization to a more focussed studio". Another benefit gained from this last recession was an increase in the quality of design work; fewer jobs made tough competition for illustrators, basically forcing everyone to be more creative and produce better designs, which can only be a good thing.

This will inevitably not be the last recession. As someone who is about to enter the design industry, i should take notice of who is riding out the downturn most effectively and why. Apart from the digital industry becoming increasingly important, it is those capable of working in several disciplines who are least likely to be caught out when one area of design suffers financially. "Those working in overseas markets will be especially well placed to weather the downturn", says Anna Richardson of Design Week, a sentiment echoed by James Sommerville. He feels that designers pitching for work outside their own country have an immediate advantage over any local designers simply because they will have a slightly different outlook and their work is likely to stand out. As the Asian markets begin to compete with the US for dominance, designers would do well to look there for work.

So although the next year is predicted to be a tough one for most areas of the design industry, i feel that those who are capable of working in several disciplines and are creative in terms of design as well as the way they market themselves, will always be able to find work.

Andrew Pavitt

Andrew Pavitt came in today to talk to us about the running of his studio Big Orange, and the possibility of an internship there later in the year. The studio is based in what is now a very fashionable area of London, i was really suprised to learn that his rent is only £200 a month, and that you can easily rent space in a crappy run down warehouse for as little as £50 a month; id thought the idea of having a studio as totally unnatainable at this point. A good location is becoming less important due to websites and email, but if you are out in the middle of nowhere, youll have to work that little bit harder to gain notoriety. The 8 illustrators and graphic designers from Big Orange share their studio with the AOI. This provides the advantage of free membership, and legal advice whenever they need it. He said the main advantage of working in a studio of this size is being able to bounce ideas off other artists, which helps to erase any doubts or insecurites in your own mind. Everyone puts together for essential expenses such as computers, phones, cleaning etc. He recommended that when looking for a studio, pick one thats open 24hours, as its really important to be flexible for tight deadlines. Alot of clients, particularly big American ones, think theyre doing you a favour in commisioning an illustration, and will therefore expect the work done overnight if necessary, completely disregarding timezones.

The only disadvantage he could think of is is a social one: the dynamic of a studio depends on the people working there, for example someones taste in music or just a clash of personalities can create an unpleasant atmosphere. This is why most studios will prefer someone who fits in socially rather than someone who has a similar working style.

Later in the afternoon, i was able to show Andy my Fear and Loathing project, which he was really positive about, he said it looked like im enjoying doing it and that my works quite edgy and stands out alot. Which is kind of what im going for. And he loved the bat and lizard photos. He couldnt offer much advice in terms of the set designs im doing, as its totally out of his area, but suggested i contact a few places over summer and see if i can get either work experience or a job as an assistant to someone working in the industry. This is how he started work as a painter years ago, he warned that the pay is likely to be very low but that the experience is invaluable if its something you really wanna do.

When i mentioned that this projects really strayed away from illustration, he suggested that i could possibly use some of the photos iv taken and collage them, or put together abstract bits of them, maybe working over them or something. I might try this. But also i like the way its going...

Comparison Report

Iv chosen to compare the processes and practices of two artists working in very different fields; Patrick Thomas, an illustrator / graphic designer based in Barcelona, and Luise Vormittag, co-founder of Container Plus, a company which focuses on such diverse elements as 3d and set design, fashion photography and street art.

Thomas’s main client is the economy supplement from a Spanish newspaper, basically their equivalent to the Guardian here, for which he produces weekly cover designs and editorials. His illustrations tend to be based around a strong concept, and are very simple and direct in the way they communicate. The nature of editorial work dictates that this is the case, as most readers will only glance at an image; therefore its meaning must be bold and immediately obvious. The piece above is a good example of this clarity, it illustrates an article describing the differences between France and Germany. His ability to work in this way stems directly from his interest in the bold imagery of the punk and pop art movements of the 60s and 70s.

The vast majority of these illustrations have a strong political theme behind them, which is obviously dictated by the article, but it is something that I feel Thomas has a genuine interest in. I felt that his strongest piece was the iconic image of Che Guevara screenprinted, his face made up of corporate logos and symbols of capitalism. This appropriation of images is something that Thomas enjoys; the challenge of putting an original slant on an existing image in order to make it his own. His interest in using clichés also helps to make his images obvious in their communication. The short timescale to which he has to work seems fairly typical of editorial jobs; most images are produced in only a few hours, which informs the necessity to develop a quick way of working.

The relatively low pay of editorial work makes it essential to be prolific. The prospect of a reliable, regular job, plus the exposure that editorial work gives you as an artist seems quite attractive to me; however I think that my 3D style is too time consuming; I simply would not be able to compete with someone who uses Photoshop and can produce an image in a couple of hours. I also feel that the constraints placed on an illustrator by a publication such as a newspaper mean that there is little room for experimentation or development of style, which I personally would find pretty boring.

As an editorial illustrator, Patrick Thomas works alone, though shares his studio with other artists. Luise Vormittag works as part of a small company, and is therefore constantly collaborating with others. They describe their work as ‘hand rendered artwork, set design and photography’, and have an extensive and varied client list including Topshop, Bitburger, MTV, Selfridges, and Volkswagen. The influence of Art Noveau is combined with contemporary art and fashion, and even magazines such as Heat provide inspiration. I think that this ability to work within several disciplines and keep their work up to date with current trends makes it edgy, which in such a competitive world is a major strongpoint for the company, as there will always be a market for their work. Unlike the simplicity favoured by Patrick Thomas, Vormittag’s work is quite elegant and contains a lot of hidden detail. She uses Photoshop, but a lot of her work is hand drawn or 3d.

Both practitioners use self initiated projects as a way of developing ideas and style, and producing promotional material. Patrick Thomas has produced postcards of his screen prints, and he recently held an exhibition in which his work was appropriately displayed in a newspaper format. Self initiated projects are particularly important to Container Plus, due to the necessity of having a wide variety of fresh promotional material to use when pitching for jobs. I find the idea of working in several different disciplines very exciting, as no project would be the same and it would give my style and skills the chance to be constantly evolving. I also like the idea of being part of a team, as the necessary evils that come with running a creative business, such as admin and promotion, can be split, taking the pressure off the individual. However, I recognise the risks of being in an industry where you are pitching for the majority of your work, and the level of confidence, determination and self motivation required in order to succeed. In a way I think I can be too laid back at times. Another downside to this way of working is the cost of hiring other people such as photographers, when there is no guarantee of any income at the end of the project. If I decide to follow this path, I would be keen to learn these skills for myself.

Whether I work alone or collaborate, a lesson I can take from both practitioners is the importance of not being too insular as a designer, as a lot of inspiration can come from other people; also I think being around others in a working environment is good for motivation.

I found the visits to both Luise’s and Patrick’s studios very worthwhile; the idea of set and stage design had not occurred to me until visiting Container Plus in London. A piece from a self initiated project called ‘Footwear Fairytales’ (above) changed the way I work; rather than struggling to combine hand made and digital work, I have found more success in creating a whole image in 3D and photographing them. What I found most inspiring about visiting Patrick Thomas’s studio in Barcelona was the idea of working abroad, as I love experiencing other cultures and find it easy to pick up foreign languages.

While Patrick’s and Luise’s work differs greatly in terms of style, industry, and subject matter, I feel that they share similar attitudes in terms of loving what they do and having the confidence to do it.

Juan Carlos Federico

Heres the answers iv got back from Juan Carlos Federico, i think hes misunderstood one of the questions a bit cos of the language, but i plan to follow this up anyway.

Hello,
I am a third year undergraduate studying Illustration at Stockport college (near Manchester, England). I noticed your work on the IllustrationMundo website, and i love the metal creatures you have designed - its really inspired something im doing in my final major project. I was wondering if you would mind me asking you a few short questions? I realize that you must be quite busy but id be really grateful if you could spare a few minutes.
Thanks, Jenny Reed.

Hi Jenny!
It will be a great pleasure to answer your questions.
Only I warn you that my Tarzan-English is very limited. I hope you understand :)
Moreover, the questions should be in writing, because my oral English is almost nothing :(
Have a nice day!
Juan

Hello Juan, how are you?
Thanks for getting back to me. Your English is much better than my Argentinian! I have attatched the questions to this email, just send them back to me when you have time. Cheers again!
Jenny

Hi Jenny!
Here are my answers.He joined the 2 and 3 in oneI remain at your disposal for any question. I wish you good luck with your final major project!!
Cheers, Juan

1. I love the metal creatures on your website, have you actually made them in 3d or did you just photograph each part and put them together digitally?
I do not do 3D drawings. They are digital assemblage (Collage / Object resignification), from fragments of photographs and textures

2. Was this a brief given to you, or is it a project you invented yourself? If so, what do you plan to do with them next?
3. What influenced you to work in this way?
I became involved in illustration in two stages: the first one 12 years ago as part of my teaching activity. In those years I devoted many time to the writing of theoretical essays about design and I tried to apply those principles in the workshops with professors and students. I was interested in verifying how theory could be applied to the composition of a visual piece.
This became an exercise where the objective for the students was to make the portrait of a character and the technique pre determined was collage/ assemblage.
It wasn’t the technique that I cared about, but the strategy used to choose the pieces (images or part of them), in a way that by yuxtapositioning them, they became completely different from its individual parts. The practical work implied a “mise en scène” of a group of objects related directly or not with the character. The assembling of these objects should be able to produce a new discourse telling a story about the character that a caricature or a photograph could not tell.
Some of the illustrations I show today date back from these years. I just made them as an exercise before the other professors in my team so that they could guide our students through the process. Later, I gave up teaching and illustrating. I devoted 100 % of my time to corporate image projects.

The second stage connected to illustration began a few years ago, partly as a game with my son Joaquin, aged 7. Sometimes he comes to my studio in the evenings since last year, when he started primary school. We have fun composing imaginary characters. He can’t deal with the Photoshop yet, but he actively participates in the choice of objects, in the photo production and he also enjoys naming the characters.

This year I have written and illustrated a book for children which will probably be published soon. I have also finished another one and looking for a publisher.
I have also developed an educational illustrated game of cards (http://algebranos.com.ar) which I will try to have it published.
e than a decade ago. I am currently finishing two other books, one for children and one for teenagers. I have also started to illustrate them. But sometimes it’s the other way around and the illustrations determine the stories.

In the long run, I am starting a pending activity: sculpture. I have been filing sketches, which will resemble the final works, and I will make them out of metal, pieces that I have been keeping and documenting in photos (the same photos that I use to create my preliminary works.)

4. Have you noticed any difference in the amount of work you have been getting as a freelance illustrator since the global recession?
The global recession has not affected me yet. But I guess I feel its impact in the short term. It will be a good time to apply creativity.

Biddy Maroney

I emailed this illustrator mainly just for the one piece, above. I found it online, & tho i work in a very different way, I love the way hes used fabric as a texture and the richness of the colours, also the pattern in the background adds a further decorative element to the piece. Im eager to find out more about illustration in other countries so thats another reason for contacting him. Heres the answers to the questions i sent:

1. I particularly like a piece of yours called ‘silver spangled Andalusian’, I was wondering what techniques have you used in this piece?

Thankyou, that one is almost completely digital.
I drew the chicken with ink and a brush so I could use some of the inky lines for its feathers. (I didn’t end up using the outline of the bird in the end though, just some of the feathers) I used the brush and ink stuff as layers of texture in Photoshop, mixed in with a lot of fabric and string that I scanned in, and found photos (the birds eye and cricket balls) I drew the text, and various lines in Photoshop with a Wacom.

2. In the last few months, since this global recession, have you noticed any difference in the design industry, for example in the amount of work you get?

Between the stuff I do through the Jacky Winter agency and the stuff I do with my partner as Webuyyourkids I’ve been flat out working for the last two years and haven’t noticed any change to this recently. But it’s hard to say as I’ve only been with the agency 18 months, and WBYK is also relatively new – so I’m lucky to be involved with growing businesses which keep getting busier. I have heard that budgets are tighter though, so I’m now very wary of turning down work.

3. Are most of your jobs within Australia, or do you get work from other countries via the internet? If so, where, and do you notice much difference between the type of work coming from different countries?

Pretty much all the work we do as Webuyyourkids is from within Australia, and that is a huge percentage of my work. The Jacky Winter Group is different though – the initial point of the agency was to get Australian illustrators working with overseas clients – so I’ve done a fair few things for US clients through that now, who would never have known I existed without my agent. It’s been mainly editorial illustrations for American magazines, but theres also been jobs for Australian clients through JW as well – mainly Australian advertising agencies. I guess they are just the sorts of companies that have reacted well to whats in my portfolio. I couldn’t say there was any trend I could pick to do with the different countries or anything.

4. What have been the main influences on your style of illustration?

I love to draw in brush and ink but lately have been doing so much digitally – drawing with the Wacom straight into the computer and then layering textures in Photoshop. I do like black murky inky things so I guess that’s a big influence. Working with Sonny as Webuyyourkids has influenced me heaps as I’m usually working as a duo so Im being infuenced by his style which is so much more clear and uncluttered and he has great compositional skills I’m trying to learn from. I like a lot if kitchy spooky things. Being able to rework things / correct things / compile different things on the computer is seriously the biggest influence on how I work though. Other illustrators I love are Shary Boyle, Raymond Pettibon, Charles Burns, Steak Mountain, Milton Glaser, Alan Aldridge, Zeloot, Edward Gorey and I love Tim Burton too. And old movie.

Anthony Ventura

Heres a reply from another contact, i love his work although its totally different to mine, i emailed him more to find out a little about the industry abroad, in this case Toronto. This is the reply i got;

Hey Jenny ,
Here's the answers to your questions. I hope I answered them OK.
If you ever have any more questions or need any advice on being an Illustrator, feel free to drop me a line and I'll
pretend to know something ;).
Thanks and best of luck to you with your future endeavors.
Anthony.

1. I love the series of ‘Skullshire girls’, I was wondering did this come from a
brief given to you, or is it a self initiated project? If so, where did the idea
come from, and what is the next stage for them?

It’s a self initiated project. The Skullshire Girls was a result of me wanting to
keep busy and try new things. Sometimes as artists, we hit a wall, and are not sure
of what to do next. I wanted to create something that I always had something to
do a drawing or a painting for in between other projects. Basically The Skullshire
Girls are an empty palette for me to have fun with. The idea and name was a spur
of the moment thing based on a few illustrations I had already done.
As far as the next stage, nothing is really planned for the girls. What I’d like to
see done, is after I have created a large body of work dedicated to them, I’d like to
see maybe a book collecting all the pictures and paintings and whatever else I’ve
come up with for these hags. Ultimately my true dream for the girls would to see
them made into a line of collectable toys, but I don’t even know where to start
with half the stuff I come up with so that’s a pipe dream right now!

2. I love the dark atmosphere in your work, can you tell me what influenced
this style?

Others describe my work as dark, but I have never seen it that way. My style just
came naturally, nothing was ever really preconceived about it. I just kept drawing
and painting and the work kept, and still is evolving. I think artists and illustrators
have to always challenge themselves and try new things, or else what’s the point.
The funny thing is, right now, my favourite art is usually more graphic and
colourful. These days I tend to enjoy the designs of animation and graphic design
more so than a lot of the painting and illustration I see.
There are times I look at others art more than I work on my own, and I really
think it helps to stay inspired and motivated. I like to tell people be influenced by
everything around you, but never copy it. Let it get into the subconscious, and
then it will truly influence what you do.

3. In the last few months, since this global recession, have you noticed any
difference in the design industry, or do you think its over exaggerated by the
media? (Im a little concerned to be graduating in the middle of a recession)

I’ve noticed that when the word recession is used, the work does slow down a
little. It’s usually in the beginning until the media focuses on something else. The
problem right now is, the bulk of good work comes from the US and things are
bad there right now so I have noticed a slow down. After 9/11, it was pretty bad.
But again, the entire art field is a rollercoaster ride. Sometimes it’s way up, other
times it’s way down. You have to be creative in the way you market yourself
almost just as much as you are in your work. I still have problems when it comes
to getting my work out there. As an artist I’d rather be drawing than sending out
promos and making mailing lists. Unfortunately, it is a necessary evil.

4. When (and if) I start working as an illustrator, id ideally like to be working
for clients all over the world, im interested in Canada particularly because I
loved Toronto when I visited, I have family there and would love an excuse to
go back! Do you have any advice on the industry over there?

Most of the work I have done is from the US. Canada is a very small market, with
only about 3-4 major cities and way to many artists, lol. But, it would be the same
as marketing yourself elsewhere, we have lots of Magazines, Ad agencies, Design
studios, it’s just a matter of reaching them at the right time. I think the biggest
problem for me is, Canadian companies tend to pay a lot less than US companies
for the same work. I think that’s why I tend to focus on the US Market. It’s really
expensive to market yourself, so you want a good return on your investment. Pay
attention to your audience too, I’ve notice my work is very well received in
Europe, especially Spain, so I’m trying to figure out ways to tap into that market
too…That’s the thing with this business, your always learning.

Card Industry

The UK population spends £1.5 billion a year on greeting cards - more than it spends on tea and coffee - yet finding a route into this fiercely competitive industry is not always easy. There are estimated to be around 800 greeting card publishers in the UK, ranging in size from 'one man bands' to multi-national corporations. Not all publishers accept freelance artwork, but a great many do.
List of card companies looking for freelancers: http://www.greetingcardassociation.org.uk/members/GCA-members-search/search-results?freelancers=a&p=1
Iv had a look at the websites on this massive long list to see if my work might be relevant to any of them, most arent, but I found a few that could be:

http://www.bugart.co.uk/greetingcards/cards.php?id=3
http://www.hotchpotchcards.com/our-cards/general (Tigerlily range)
http://www.paperrose.co.uk/artists.html (advertising for freelancers)
http://www.pq2.biz/pq2_store/index.php
http://www.realandexcitingdesigns.co.uk/home.html (advertising for freelancers)
http://www.soultraderuk.com/index.htm (huge range of different styles)

• Browse the greeting card displays in card shops, varietal stores (WH Smith, Boots), department stores and gift shops. This will not only give you an insight as to what is already out in the market but also which publishers may be interested in your work. Most publishers include their contact details on the backs of the cards.
• There are a number of trade exhibitions held during the year at which publishers exhibit their greeting card ranges to retailers and overseas distributors. By visiting these exhibitions, artists will not only be able to gain a broad overview of the design trends in the industry, but the current ranges of individual publishers.
• Some publishers are willing to meet artists and look through artists' portfolios on the stand, others are not. Do not be put off by the latter. If you believe your work could be relevant for them, ask for a contact name and follow it up afterwards. Some larger companies may suggest you contact their art director or design manager, while for smaller businesses it may be the managing director of the company who deals with the design aspect.
• It is a good idea to have a supply of business cards handy, perhaps illustrated with some of your work, to leave with the publisher.
• Progressive Greetings Worldwide is the market leading magazine for the greeting card industry and the official magazine of the Greeting Card Association. The editorial and advertisements will provide immediate insight into publishers, new products, industry issues and news of the day. It often carries advertisements of publishers looking for freelance designs and verses. A list of publishers appears each month at the back of the magazine. It is published 12 times a year and is available through an annual subscription (£40 a year) and also includes special supplements such as an annual Focus on Art Cards and Focus on Humorous Cards.
• The first step is to establish whether the publisher accepts work from freelance artists and their requirements for an artist's submission. It is always better to send several examples of your work to show the breadth of your artistic skills. Some publishers prefer to see finished designs while others are happy with well-presented sketches. The publisher is usually looking for a distinctive style, creative thinking, market awareness and professionalism. If he likes your style he may bear you in mind when commissioning new ranges.
• Remember that publishers work a long way in advance. Christmas ranges for example are launched to the retailers in January; Spring Seasons ranges (Valentine's Day, Mother's Day, Easter and Father's Day) are generally launched in June/July. Development of a range may take up to six months prior to launching.
• Some publishers respond to post from artists straight away while others prefer to deal with a pile of artists' submissions on a monthly basis. Do not be disheartened if you hear nothing for a few weeks. A publisher interested in buying your artwork will then issue you with a contract. This may cover aspects such as: the terms of payment; rights of usage of the design (eg. is it just for greeting cards or will it include gift wrap, stationery?); territory of usage (most publishers these days will want worldwide rights), ownership of copyright or license period.
  

There is no set industry standard rate of pay for greeting card artists. There are a number of different ways an artist can be paid by publishers. It can either be made on a per design or range basis. These include:

• Flat Fee - the publisher makes a one off payment to the artist for ownership of a design for an unlimited period. The fee can be anything from £150-£250 for one design, with a sliding scale coming into play for more than one design.
• Licensing Fee - this grants the publisher the right to use artwork for specified types of products and for a specified number of years, after which the full rights revert to the artist. Artists are paid in the region of £150 + per design for this.
• Licensing Fee + Royalty - similar to above, but also with a royalty payment on each card sold. Artists would generally receive £100+ licensing fee plus 3% of trade price of each card sold.
• Advance Royalty Deal - the artist is paid a goodwill advance on royalties. In the case of a range, the artist would receive a goodwill advance of say £500-£1,000 and 5% additional royalty payment once the threshold is reached.
• Royalty Only - the artist will receive regular royalty payments based on the number of cards sold. Royalties are generally paid quarterly. Artists should expect a sales report and royalty statement.

Dos

• Do your homework. A little time spent researching the market will save you a lot of time, money and frustration in the long run.
• Do ring up the company prior to sending copies of your designs to check whether they accept freelance work and to find out to whom they should be addressed.
• Do remember that few greeting card display racks show each card in its entirety. Remember to ensure that some of the design 'action' appears in the top half.
• Do remember that most wholesale designs will need to include a caption - or space for one
• Do present your work well and meet your deadline. Remember, news travels fast in the industry.
• Do put your name and address on the back of every design.
• Do enclose an SAE if you want your work returned. Please make sure this is large enough and has enough postage on it to take your samples.
• Do agree how you will be paid.

Don'ts

• Don't ever send originals.
• Don't waste your time sending a long letter of introduction. It invariably will not be read.
• Don't sell two publishers similar designs. A bad reputation will follow you around.
• Don't take rejection personally.

Thanks for finding this Jo, iv emailed Kate and shes sent me some really helpful advice...


1. Where do you find all the different paper used in your work?

I think I began just by collecting envelopes and using the different patterns inside (there are so many!). I also use things like paper bags and patterns I find in magazines. Actually now I just can’t throw any paper away, I’ve got bags of it - old shopping lists, chocolate wrappers, leaflets. I did quite a lot of mono-printing while I was at uni to get big sheets of flat colour for backgrounds. This worked really well because the prints came out covered with tiny white dots – perfect for night skies! Or occasionally I do paint sheets of paper with acrylic. Gardening magazines are also good!



2. When you graduated, what was the first thing you did to begin your career?

Well, I was lucky because I had interest from publishers who had seen my work at the London degree show and at D&AD New Blood. This meant I already had people to see as soon as I graduated, which was great because it then gave me the confidence to approach others. Having a website was also useful, even though mine is really simple and to begin with only contained work from my portfolio. Even having a blog or something would work I think, if it was clearly a kind of portfolio.



3. Do you have an agent, or do you promote your own work? If so, what have you found to be the most successful method of self promotion?

No, I don’t have an agent, although I did contact a few on graduating and it’s definitely something I would consider. I try to promote my own work, which has so far meant emailing lots and lots of publishers. Having said that, not many reply! I think it’s really important not to be discouraged by that. Luckily, I’ve had positive responses from the few who have. Going to see people with my portfolio has probably been the most beneficial thing for me and I really enjoy it too! I get a lot of feedback and ideas for things they would like to see me do. They’re often quite happy to be used in the same way as a tutor at university and then you can just email them things you’re working on. This does depend on what area of illustration you want to pursue though, because for editorial work for instance, I think having a website is probably as useful and you don’t need to see people as much. Web presence is obviously a fantastic way of showing your work. I’ve found IllustrationMundo a brilliant resource and also having a blog, because I can update that much more quickly than my website!


4. Alot of your work seems to be based around nature or animals, a subject which inspires me more than anything else. I was wondering if you had any advice as to where to look for work on this theme?

You know, I’ve never actually thought about that! It’s actually really obvious isn’t it? I suppose it’s being a country girl at heart! That’s quite a difficult question. The really easy (and not at all useful) answer is everywhere! It depends what area you would like to go into. If it’s more editorial then just go to Borders (or newsagent of your choice!) and look through the magazines, find where you think your work might fit, write down the art director’s name from the front and ring them up/ send samples. I say this as though it’s something I’ve actually done, which I haven’t! It’s something one of my tutors at uni always said we should do, because you often find magazines you never would have thought of. Of course children’s books often deal with these themes/settings and publishers I’ve met say that mostly their illustrators are known for either doing animals or people because they’re usually better at one than the other, so this is an area where you naturally pursue your area of interest. While it’s good to have a wide portfolio, I don’t think there’s anything wrong with being identified with a certain subject/theme. I don’t know if you’ve seen Rob Ryan’s work, but he came and gave a talk at Kingston and basically said that everything he does has trees/birds/bells in! He does quite a lot of book jackets and… well everything really, so it seems to work for him. He’s definitely worth looking at anyway, one of the illustrators I first looked at when I started cutting things out and just shows you that there aren’t really any boundries with where illustration can be used. Although if you are doing more 3D work you do have to think about where it will fit. I used to make all these chaotic structures and then tutors would tell me I had to get it photographed to see how it would work flat. The photography/printing side of things took me so long to get right, and it’s still something I find difficult. When I’ve been working on something really big and 3D for ages, it doesn’t always look how I expected printed out flat.

I really haven’t answered that question have I? I will let you know if I think of anything better… Honestly, I did a project where I had to contact people for advice last March! It’s so strange to have someone ask me these things. It was useful though, so I hope I’ve helped a little bit - it’s lovely to be asked!