(Ralph Waldo Emerson).
PREFACE:
I wrote this blog post as a final assessment piece while studying my design diploma (which I graduated from earlier this year). Originally this article was to be published on a blog set up by the design school but unfortunately the blog never eventuated. So I am posting it here instead. So many thanks to the illustrators who assisted with this article. I have had an amazing 8 months post study finding my feet as an emerging illustrator - the illustrators in this article have inspired me and my journey immensely!
- Lou (September 17th 2014)
THE DRAWING BOARD
By Lou
Endicott
So
here I sit on the edge of being thrust out of my tertiary graphic design course
and into the work force as a professional in the field of illustration and
design. This is the time to consider the opportunities that lay ahead and to
invest in the opportunities already at hand.
My
choice to specialise in illustration is an obvious one. I draw everyday. It’s
the first thing I look for in a design. I get unexplainable peace, joy and
satisfaction working on illustrations with both traditional and digital media.
I have long dreamt of being a children’s illustrator and working on books,
editorials, posters and branding for children’s products.
After
researching the working life of illustrators and talking to a variety of
artists themselves (at markets, exhibitions and via email) it is apparent that
making a living as an illustrator is filled with challenges. The field itself
is flooded with talented practitioners. There is also the idea of the world of
printed media diminishing in demand with the advent of this technological age
and the popularity of e-readers.
Illustrators must also consider the prospect of working long hours alone
without the team environment that a graphic design studio (or any full time
office) might provide. They are freelancers, self-promoters, and small business
managers and are continually trying to prove the worth of the work that they
do. Melbourne illustrator and author Elise Hurst paints the picture
beautifully: “You will blown this way and that, following your own zephyr, and,
despite all the difficulties, experience a satisfaction that few others will”.
 |
| My illustration of Elise Hurst |
“You will blown this way and that, following your own zephyr, and, despite all the difficulties, experience a satisfaction that few others will”.
(Elise Hurst)
Without
passion, there would be no point in pursuing this industry. For me personally (having already had another
career) shifting to this dream of illustrating was a matter of following my
heart and my inner drive. I found this
to be familiar story with Melbourne illustrator Laura Wood: “I started doing this work later in life, after already
having started a career in a completely different job. But I wasn't happy and
one day I decided to change my path because I realised I couldn't do a job
where my heart wasn't there. So I allowed myself to dream again and for
the first time I let my heart choose instead of my brain.”
Choosing
the heart instead of the brain is not everyone’s idea of a dream job.
Illustrators need to be resourceful and unashamed of bravely shouting to the
rooftops about what you do to strangers. With the digital age well and truly
being at the core of business we are faced with an opportunity to promote our
work and be seen on both a national and international platform.
Self-promotion
is paramount in this field – particularly when starting out. Earlier this year
after following Laura Wood’s blog I noticed that Laura had started an online
presence as an illustrator while still studying. Her journey from student to
professional was beautifully documented as she emerged into the industry. Her
online presence is hard to be missed.
 |
| My illustration of Laura Wood |
"I allowed myself to dream again and for the first time I let my heart choose instead of my brain.”
(Laura Wood)
Living in the digital age means that illustrators have the opportunity to promote themselves to a wider audience. “Through the Internet we have now the possibility to put our work under the eyes of creative directors all over the world in matter of seconds and without spending a cent,” says Laura Wood “I think it's fantastic.” Elise Hurst agrees: “Online folios are The Best.”
I
followed this example of self-promotion and began to create an online presence
with my own Facebook page, an Instagram account and a blog to document my own
journey. Recently I joined Twitter to
connect to other illustrators globally and take inspiration from their own
process of self-promotion and work generation.
It was through this Twitter account that I noticed how many illustrators
are selling their own work online. I have followed suit and started selling my
own work through an Etsy shop. This work has lead to my first commissioned
piece and got me thinking about diversifying beyond just prints.
Elise Hurst would agree that diversity and selling your
own works is part of creating opportunities for yourself. Apart from simply
illustrating, she is also a highly acclaimed author and has also hosted several
exhibitions of her work. It was at her
last exhibition “Tiger. Hare. Girl. Bear.” that Elise shared her thoughts on
her work and process. “I create what I want to see. I always keep journals.”
“But how do you get your work out there?” I asked. To which she replied “It’s
good to be brave and go out to talk to people.” Richard Morden agrees with this
statement and adding “Some of my most interesting
and rewarding commissions have resulted from personally contacting people I
thought could use my illustrations and showing them samples.”
 |
| My Illustration of Richard Morden |
"Some of my most interesting and rewarding commissions have resulted from personally contacting people"
Like any industry, talking to other people about the
job and its challenges and rewards can be a huge help – and not just for those
starting out like myself. Networking is as important in this industry as in any
other. Being an illustrator can often mean long hours spent alone working on
pieces and interpreting briefs.
After
Laura Wood pointed me in the direction of Illustrators Australia (a not for
profit group) I began to understand the importance of a professional community
that provides a network for illustrators. Wood says: “For
a freelance illustrator like me, Illustrators Australia is a good reference
point able to provide support and exposure. Also, being involved in
such a community is a great opportunity to meet other people that share the
same passion for illustration.”
After recently joining Illustrators Australia myself I
had the opportunity to ask Vice President Andrea Innocent some questions. “It's like being represented by an agent in a way however
you have the ability to have a real say in how IA is run,” she said. “ IA also
is a terrific resource for information, pricing and contract examples can be
downloaded from the site and there are lots of other illustrators available to
chat to about all sorts of things to do with illustration as a career”.
“Don't be afraid to get involved with IA, we don't bite!”
(Jody Pratt, Illustrators Australia President)
The opportunity to ask other professionals for advice is clearly worth every cent of the membership fee to an organisation such as IA. Jody Pratt, president of Illustrators Australia adds in here: “Don't be afraid to get involved with IA, we don't bite!”
 |
| My illustration of Jody Pratt |
(Jody Pratt, Illustrators Australia President)
The opportunity to ask other professionals for advice is clearly worth every cent of the membership fee to an organisation such as IA. Jody Pratt, president of Illustrators Australia adds in here: “Don't be afraid to get involved with IA, we don't bite!”
The Loop, Linked In and Behance are some
examples. As is The Style File – which is a website that promotes the works of
book illustrators in Australia. Elise Hurst is a member and shared with me the
benefits: “I think it is great for new illustrators
and publishers hoping to find a fresh new approach. Because there are a lot of
illustrators on the site - it's always worth a publishing house having a look
through.” It’s clear that to gain work emerging as well as practicing
illustrators must find exposure.
From this ongoing research it is
apparent that making a move from student to professional is one that needs to
have started well before graduation. But finding actual work as a freelancer
requires a large amount of self-motivation and drive. This is where an agent
may help. I asked Andrea for her thoughts on illustration agents and what
services they can provide. Her advice?
“Surviving on your own and working freelance is definitely possible but it
requires lots of work and marketing by yourself, whereas an agent can promote
you as well as put you forward for jobs that suit your style and voice.”
 |
| My illustration of Andrea Innocent |
"Surviving on your own and working freelance is definitely possible but it requires lots of work and marketing by yourself"
(Andrea Innocent)
It can be daunting looking at all of the illustration agencies in Australia and internationally. However, having an agent can be a gateway for work. Laura Wood’s would agree: “Having an agent for me has meant getting work and recognition from bigger and more prestigious clients.” Elise Hurst explains how an agent makes her life a little easier: “I love my agent, Jacinta di Mase, because I hate to do the negotiation and chasing work of a job.”
I have started to investigate the many
illustration agencies in Australia and overseas. Some agencies require a
minimum years of experience. However, there are some that have their books open
for consideration. These agencies are ones I am considering approaching before
I graduate. Andrea Innocent encourages emerging
illustrators to just go for it: “In terms of approaching illustration agencies
don't make the mistake of waiting because you don't think you're ready or your
work is not good enough yet, let them be the judge of that, just call them!
Most agencies are very excited about seeing new work and are ready to give you
some super useful advice as to where they think you might fit in to the mix”.
If you
have clients wanting you to work with them research indicates that you are an
asset to an agents books and representation might be the next step. Elise Hurst
would agree with this research: “If you get some
work offered to you and you are not confident negotiating for yourself, that is
an excellent time to talk to an agent. You are much more likely to secure an
agent if you have an offer on the table, then if you are starting out and you
have no work behind you.”
With the digital age truly ingrained in
our popular culture images are easily sourced – often for free. The price of
original work has also been lowered in this competitive market. To stand out in
this online market place it seems that illustrators need to look for gaps in
the market place. Says Andrea “Having a particular style or technique that
makes you unique can give you an edge and hopefully you will be able to command
higher prices for your work. It helps to also be a really nice person to work
for.”
So once a style has been defined and a
body of work is created, what opportunities can be created? Elise suggests: “You can print your own work and get noticed, make web
pages and eBooks, blog, tweet… In the end you just have to get creative and
proactive and work out how you are going to earn money for the time you spend.
Although there is a lot to be said for social media, I think the biggest asset
of an illustrator is doing great work and a lot of it. The challenge is to find
that work.”
What if
you choose to work for yourself? The idea of self-publishing children’s books
has been playing on my mind for a while. There is lot of online services that
allow you to publish your own material. However, it seems that actually promoting
your own work and marketing it to customers requires a whole different skill
set. Elise Hurst confirms this research: “Creating the book is only a small part of selling a book. That is why I
definitely choose to go with publishers. It takes enough of my time writing and
illustrating, without trying to pick up another 6 part-full time jobs too.
Basically, if you aren't willing to learn to do everything (editing, layout,
researching printers, organising the print run, freight, storage, distribution
and marketing) then you end up paying a whole lot of people to do aspects of it
for you. That's a big outlay for a product that has no guarantees of selling.
You don't have to sell through mainstream bookshops though. If you have a way
of selling directly to people it is a different story. You will still be doing
a lot of work though!”
Claudia
Rowe illustrator and self published author of “Where the wild bums are” and
“The Hungry Bum” explains the learning curve of making your own books: “Self-publishing feels like a slow build in a lot of
ways; starting as a complete novice and learning slowly about all the aspects
along the way or not learning! Not even realising what you have to learn until
confronted with it.” But she would add there is a freedom and “You can be as
innovative and/or anarchic as you like!”
 |
| My illustration of Claudia Rowe |
“You can be as innovative and/or anarchic as you like!”
(Claudia Rowe)
The advice from these illustrators strengthens my resolve to create my own opportunities right now – to network, to promote and to go forth bravely with the spirit of adventure, self belief and creativity.
The creative life is not for the faint
of heart. It is filled with obstacles and challenges. But who better to
overcome these challenges than those with creative resourcefulness and know
how. I guess when it comes to creating new opportunities in this industry it
will always be back to the drawing board for me.
Lou Endicott (January 2014)
 |
| Self Portrait |
You can see the beautiful work of the illustrators referenced in this
article via their websites:
Laura Wood: http://www.laurawoodillustration.com
Andrea Innocent: http://www.andreainnocent.com/work/
Elise Hurst: http://www.elisehurst.com
Jody Pratt: www.jodystudioarts.com
Claudia Rowe: http://www.atlasjones.com
Richard Morden: http://www.mordenart.com
To check out the work of many amazing Australian illustrators or to
enquire about becoming a member of Illustrators Australia follow this link:
Illustrators Australia: http://www.illustratorsaustralia.com
To follow my own journey as an illustrator:
twitter:
@louendicott
instagram:
louendicott_illustrator
Those are great advice. And the best part of it is that more people will see this and try to incorporate it into their strategies, whether for promoting their art or simply increasing their online presence. It really boils down to the basics: be in one, then be in many, and the audience will see your work more times over. Bottom line, you just don't let them miss your stuff. Anyway, thanks for sharing your thoughts on the matter. Cheers!
ReplyDeleteAnn Boone @ Apex Business Team