Half Page Illustration

Tests

I scanned my roughs in started working over the top of the ones that I thought would work the best. I wasn't sure on how much to include in the image, I definitely wanted a central figure but the actual scenery could have included a number of things, like trees, clouds, birds, rocks, animals, etc. Considering this, I started putting simple shapes in to the frame and gradually added elements til I felt I was happy with it. I also asked my pals at Uni about how much to include which helped me.

The Sound of Silence - Roughing Ideas

Half Page Illustration
My initial ideas around the theme of silence and meditation centred around sound waves. I liked the notion of including a sequential image within a larger scene to describe what it happening.



I wanted to include a single figure in the frame, I think this makes the article more personable. To start with, the roughs I drew out were focus on the face area which described the calmness of the character. However, after a bit of thought I realised that this may be a bit too simple. I also really like working with detail and scenery so I wanted to include that in there somewhere.

Next I considered the placement of my character and what I associate with being calm and serene. I drew a few different options I could have gone with, the first being the ocean and then the setting of a bedroom. Playing around with the idea of an everyday setting was something I thought about in regards to relatability of the image to an audience.

I figured out the exact shape of my central figure. The rest of my roughs I drew around this idea. The sound waves were drawn in the middle of three circles, demonstrating the progression from silence, to quiet sounds, to loud sounds. The silence circle sits within the character design, linking to the effects of meditation.

Thinking about a peaceful setting I thought about nature and human interaction with it. This became the basis for the concept behind the final illustration.

Circle Illustration

After deciding on an idea, I thought about how I could link the circle illustration with the main one. As the figure is sat on the top of a mountain, I thought about using the top part that could not be seen on this image there - I liked this idea a lot as it ties in with the concept, and also the aesthetic.

Independent Leeds

The Brief
Independent Leeds approached me on Instagram asking if I would be interested in featuring in the new issue. I was asked to produce two illustrations to go alongside an article titled 'The Sound of Silence'. I am very excited to get started as the theme aligns with my own interests and one of my aims for my future practice is to tackle more editorial briefs.

Requirements
Circle header illustration.
Half Page Illustration.
CMYK Files - Image ready PDF.

Helen Musselwhite

Jon (Handsome Frank Illustration agency) also mentioned Helen Musselwhite's work as a means of demonstrating the charm of paper craft. In the examples of my work that I sent to him I included my work for the folio society brief, which was made up of built up layers of paper cuts. Although I appreciate the intricate detail and craftsmanship that goes in to making someone like this (above), I think I am recognising the potential with using digital media more. I like the ability to change and alter elements of my work fairly quickly, including when it comes to colour and tone. I find that using photoshop I can easily adapt these things to fit the purpose, whereas when using paper these things need to be considered right at the beginning of when I start the work. 

Quentin Monge

One of the practitioners suggested for me to look at by Jon at Handsome Frank Illustration Agency was Quentin Monge. I think the way he put shape and detail together is similar to my work, especially my paper cuts for the folio society. I like the simple but detailed arrangement of character and composition within the frame and I think the most distinctive aspect of Monge's work is his use of colour. Being bolder with my colour choices is something I want to start considering in my own practice, I feel as though I have improved a lot as I used to work with black and white a lot, now I much prefer to use a colour scheme and create a tone and atmosphere.

Handsome Frank Illustration Agency Interview

1. Do you have certain qualities that you look for in an illustrator before you choose to represent them?

The main thing we look for is a consistent and commercially applicable signature style. By that I mean a body of work that is coherent and sits together well, but also that has commercial appeal to the advertising, design and publishing worlds. We always advise illustrations not to have anything in their portfolio that they're not proud of or they don't like anymore. It's better to go for quality over quantity. The other thing we look for in an artist is their attitude and personality. We need people who are reliable as well as talented. People who can produce great work under pressure and work to the industry's notorious tight timings. 

2. How long have you worked in the creative industry?

My initial introduction was when I started working in publishing, selling advertising for Creative Review in 2003. I went on to work for Design Week too, before leaving to set up Handsome Frank in 2010. This year we're celebrating our 7th birthday. So I guess it's 14 years in total. 

3. What made you and Tom start the Handsome Frank Illustration Agency?

I guess it was mainly a desire to do our own thing and work for ourselves. I'd just had my first child and Tom was about to become a Dad too. That's something that was definitely a catalyst, we were both looking at where our careers had taken us since University and in light of the changes in our lives we both had the urge to do something else with our lives. Aside from that it was meeting lots of talented illustrators, through my role at Creative Review, and sensing that I could help people in that sector find more work and bring more attention to the amazing work they were doing. Illustration as a medium is something I've always loved, so I thought why not set up a business involved in something you love. 

4. What makes a piece of illustration successful to you?

It depends on the aim from the outset. From a commercial point of view it's successful if it achieves the things it was intended to achieve. If it's on a book cover, did make somebody buy the book? In a magazine, did it convince somebody to read the article? If it's an advert did it help somebody discover a new product or get across a message to the audience. Commercial illustration is really all about communication. If a piece of work successfully communicates a message or a feeling then it's successful. On the flip side, I think from an artistic point of view, you can also deem a piece of illustration 'succesful' if it makes you want to buy it, hang it on the wall and smile at it everyday. I guess the really amazing work are the images that succeed on both fronts. 

5. Have you noticed particular trends within the illustration industry lately?

Yes, trends come and go all the time. At the moment we're seeing more texture in vector based work. I've also noticed a trend for placing a sheen like (shiny) reflection on objects and people. That seems to be very common at the moment. My advice to illustrators would also be not to follow trends too closely. They come and go so quickly, if you chase them you'll get pigeon holed and your work will date quickly. It's always best to try and do something timeless and original. 

6. What advice would you give to someone (me) just starting out in the industry?

I think the main thing is to work towards having that consistency in your portfolio that I mentioned before. Once you've established that, it's then a case of trying to get a wide variety of subject matter in your work and therefore show that you're adaptable and can cater for a wide variety of briefs. Things to make sure you have in your portfolio would be people (and portraits), food & drink, objects, technology, buildings, cars, animals and maps. These are some of the very common things that our artists are asked to draw, you need to show that you can do these things in your style. 

Aside from that I would say it's important to stand on your own two feet and learn about being a freelancer and running your own small business. Don't be obsessed with trying to get an agent from day one. It's good to prove to yourself you can do things and have understanding of how the industry works, so learn about contracts, quoting, invoicing a little bit about how tax works (the AOI offer some good courses on this stuff), build a database of clients and art directors. This knowledge will allow you to start working independently and then if and when you do end up with an agency, you'll have a better understanding of what they do. 

Another big consideration is having the right attitude, it doesn't matter how good someones work is, a client will only work with them once if it's a difficult process. You need to have positive attitude and be willing to listen to (inevitable) feedback and take it on board. That said, don't be a push over. Place limitations on rounds of feedback (after which you charge extra) and don't work for free, make sure people are respectful of your time and talents from day one. 

7. I have attached a couple of examples of my work, the second of which is a work in progress. At the moment it is shape and detail driven, I use a mixture of paper and digital work - do you think it is better to choose one specialist area of craft, or is adaptability important?

These are lovely, you already seem to have a clear direction. For me personally I would say it's wise to chose one direction or the other, both have advantages and disadvantages but it's better to decide which way you want to go. If your work is papercut then really it's all about craft, the joy of something hand made and the skill that goes into it. A good example of this is Helen Musselwhite. Her story and the charm and appeal of her work is that it's all done by hand. https://handsomefrank.com/illustrators/helen-musselwhite

If your work is digital but has a feel of papercut to it, that's fine too (see Quentin Monge), but it will take you in a slightly slicker, cleaner direction. If you offer both it might confuse clients as to what they're going to get. Personally I feel you're better off presenting yourself as the master of one technique / process rather than somebody who can do lots of things well, but not as well as a specialist. 

Rian Hughes Interview

1. How long have you been working in the creative industry?
I graduated in '84, so quite a time!

2. What do you think makes a good piece of design?
Big question. A combination of originality, fitness for purpose, skill in execution.

3. You have a wide range of work that sits in many different areas (type, illustration, design, logos), do you have a favourite kind of brief?
One that has enough room to manoeuvre, but some constraints that get the imagination working.

4. Do you use a sketchbook?
Yes. Got loads. Though my sketches are more like thumbnails. Not finished at all.

5. Do you think being creatively adaptable to different styles is important?

Yes, Fashions change, and you’ve got to innovate all the time.

6. Who is the most interesting person you have worked for?

DC Comics.

7. What has been your favourite brief to work on so far in your career?

My favourite job was a Batman: Black and White strip where the Bat-mobile I designed was made into a toy.

8. Can you give an example of another practitioner's work that you admire?

Yves Chaland. Serge Clerc. Peter Saville. Barney Bubbles. The Stenberg Bros.

9. Do you have any other interests outside of art/design?

Physics and science. I’m also an SF geek.

10. What advice would you give to someone (such as me), just starting out in the industry?
It’s a slow build. Be passionate, be dedicated, be original. You will meet wankers and saviours, people who rip you off and people who push you on to do your best work. 

Learn to recognise them. They may even be the same person.

Take it all in your stride, as you learn as much from the jobs that go horribly wrong as the jobs that breeze through.

Stay interested by stepping outside your bubble to look in afresh on a regular basis.

Be professional. Meet deadlines. Read the brief. Listen to criticism. Don’t be a prima donna, but stick up for what you think is best for the job. Be articulate and engaged. Don’t forget to invoice.

I am very pleased with the response I got from Rian. He was such an interesting guy when I met him and I liked having the opportunity to learn more, my favourite part of the interview was the advice he gave to me. It have me laugh a lot, but also the point he made about stepping outside my bubble once in a while really resonated. I think it is healthy to do this, as it helps to see things from a different perspective.

Plum Pudding Illustration Agency - Children's books

Notes

Specialising in children's books.

Bologna book fair - look into this.

Picture books - should be 32 pages including end pages.

Sara Sanchez - Ella who?

Front cover - 2 inside illustrations & sketches.

Files 300 dpi CMYK.

Can determine your own representation.

New Photoshop Brushes

Watercolour Brushes - Test

I bought some of Kyle T Webster's Photoshop brushes and I am in love! I can't believe how realistic they look, I don't know why but I expected digital tools to look more digital and clean. The edges of the washes in particular are a lot of fun to work with and the overlays look just like the real thing. At this point I am just trying them out but I aim to incorporate them into my studio practice work soon.

Questions for Rian Hughes

1. How long have you been working in the creative industry?
2. What do you think makes a good piece of design?
3. You have a wide range of work that sits in many different areas (type, illustration, design, logos), do you have a favourite kind of brief?
4. Do you use a sketchbook?
5. Do you think being creatively adaptable to different styles is important?
6. Who is the most interesting person you have worked for?
7. What has been your favourite brief to work on so far in your career?
8. Can you give an example of another practitioner's work that you admire?
9. Do you have any other interests outside of art/design? 
10. What advice would you give to someone (such as me), just starting out in the industry?

I met Rian Hughes at the House of Illustration for the Book Illustration Competition Awards night and we had a really interesting conversation! I got his contact details so I thought this would be a good opportunity to ask him more about his practice and get some advice from someone who has worked in multiple areas of the industry.

Questions for Handsome Frank Illustration Agency

1. Do you have certain qualities that you look for in an illustrator before you choose to represent them?

2. How long have you worked in the creative industry?

3. What made you and Tom start the Handsome Frank Illustration Agency?

4. What makes a piece of illustration successful to you?

5. Have you noticed particular trends within the illustration industry lately?

6. What advice would you give to someone (me) just starting out in the industry?

7. I have attached a couple of examples of my work, the second of which is a work in progress. At the moment it is shape and detail driven, I use a mixture of paper and digital work - do you think it is better to choose one specialist area of craft, or is adaptability important?

I thought long and hard about the questions I wanted to ask an illustration agency, basically at this point I just want to get my name out there and gain all the advice I can in regards to where my practice is heading. I made the decision to include a couple of examples of my work to get some feedback on, I am also very interested in hearing what they have to say about craft and choosing a technique as this is something I am stuck on at the moment.

Presentation Skills - Rick Ferguson

Why I want to be better at presenting

So I don't get nervous before doing a presentation.

Practice for presenting to potential clients - leads to new opportunities.

Behaviour

The way we say the words.

Non-verbal behaviour (body language).

The words we use - speed, volume, pitch.

Avoid crutch words - ok, so, um, etc, and laughing.

Use a pause instead.

Don't lean to one side.

Structuring Presentation

Book-ending

Mention something at the beginning and mention at the end.

Nice start & end, a story, image, object, etc.

Power of 3

Three main things - memorable.

Short and punchy.

Used in children's stories.

Intro - including bookend 1.

First section - tell them what I am talking about.

Second section - atm.

Third section - potential.

Conclusion - including bookend 2.

Content

Decide on what it is.

Head (where, what, how)

Heart (why, who, who else)

Logical levels.

London Trip

Saatchi Gallery
Me and my sister took a trip to London for the Folio Society/House of Illustration book competition awards night. Whilst we were there we wanted to make the most of the galleries and museums. It had been years since I went to the Saatchi Gallery and I always remembered the weird and wonderful things from it. However, I was a little disappointed because most of the gallery was paintings. Don't get me wrong, I really appreciate and enjoy looking at paintings, but I also wanted to see some wacky sculptures and installations - I was expecting some Damien Hirst-esque work.

The British Museum
This time round I definitely wanted to stop by The British Museum. I think this and the V&A are my favourite galleries in London. The sheer amount of things available to look at is crazy! I also find the stories and explanations behind the artefacts fascinating. If I had more time there I would have liked to draw the more obscure sculptures. I plan to go again soon and make sure I set time aside to do this. Also, the gift shop is great.

Tate Modern
The Tate Modern always has new exhibitions and work on. I saw a programme on the BBC about the work on display so I was eager to take a look for myself. In particular, I wanted to see a room that held metal car bumpers up using human hair, the documentary I saw followed artist Sheela Gowda to the little village in India where wrapping hair around a bumper is believed to ward off bad luck. I really loved hearing and seeing exactly where her ideas came from. 

Awards Night - Networking
At first I found the idea of the awards night really daunting and I had no idea what to expect. We got there a little bit late because the public transport was closed due to the wind, and we got a bit lost walking! However, we finally made it on time and after a couple of drinks I felt a lot more at ease. I spoke to lots of people from many different walks of life - some were students like me and others had been working in the industry for 30+ years. This diversity made me think about how great the creative industry is and how every one has their own individual voice. 

I took the opportunity to speak to as many people as possible and I ended up having a great time. It was crazy to see my work in the same gallery as Quentin Blake. My eyes were definitely opened to what being an actual illustrator could be like. It is something I am very excited about and I felt very inspired by the experience to keep making. 

AOI Lecture

Notes

Membership - help with contracts, copyright, etc.

Alice Pattullo - shape.

Self promotion - website, should be image led.

Helen Musselwhite - paper.

iwantmyname.com - domain name.

Nate Kitch - collage.

Collectives - peepshow collective, copyright, the line at the bottom.

Blog & social media - processes and ideas, should be regularly updated, put personal projects on there, a dream brief for you - way of getting the work you want.

Sara Gelfrgen - one illustration per city.

Twitter - good idea to follow art directors etc.

Transition personal accounts to professional ones.

Don't rant!

Miss Led.

Instagram - follow art commission.

Commissions - add email, set up art email address.

marcmartinello - example.

Behance - Ben the illustrator, The Mighty Pencil.

Physical mailers - art directors, etc.

Pin board and example sample card file.

Selected contacts

Email - pdf of 1-3 illustrations no bigger than 1MB, link to websites, etc.

Time Easley - work out what is appropriate for each person. 

Lizzie Mary Cullen - hand written letters.

Research your clients, use names not sir/madam.

Client lists, business cards.

Accounts

Register for income tax within 3 months of starting - claim back.

Keep it all up to date.

Retain all claimable receipts.

Keep paperwork.

Cultural things, can claim back on cinema, research trips, etc.

Apps - tax accounting.

Sara Fanelli - copyright

Automatically get copyright when you do the work.

Don't need to use the copyright symbol, licensing & lending.

Derek Brazell - physical and intellectual property.

Don't copy photographs, take your own - reference infringement.

Assignment - giving to the client forever. Don't do this, loss of control.

Right of paternity - changing work. Moral rights - automatic.

AOI have a price list.

Rights, On-line

Protect work on-line

Low resolution files (72 dpi) name as part of the file name.

Use copyright symbol, sm.

Can embed name into the work.

Use contracts to protect our work - get payment - legally binding.

State exactly what it is going to be used for, how long for and how much.

Keep emails, contracts, etc.

Contracts

Follow the contract.

Date of roughs/artwork - samples.

License and fee.

End user - name of client.

Exact use and size.

Makes the agreement binding.

Tim Ellis.

Do not work for free!

Think like a business, accurate pricing, do not work on a day fee.

All licensing.

Where it is printed, actual usage.

Louise Gardiner.

Pricing - Advertising

Negotiation.

Above the line - publicity, external, seen more.

Below the line - not paid space, advertising, mailing, digital, etc.

Internal.

Pricing - Editorial

Magazines, newspapers, blogs.

Usage, print, print & digital, digital only.

Territory, can vary, UK generally.

Duration - length of issue.

Pricing - Packaging

Vic Lee, Lisa Maltby.

Usage - food, drink, cosmetics. Full coverage, limited

Territory, can spread costs out over a year.

Buyouts

Copyright assignment - no.

License only.

Larger fee - retention of copyright.

Unlimited usage.

Duration.

License even the roughs, visualisation.

Pay £100-700 rate, only time.

Additional amends - more than 3.

Leeds is an AOI member - get the discount.

Portfolio consultations - agencies & contracts, approaching clients.