3x3 entry

I entered this piece to the 3x3 #14. 

Weighed against the AOI annual, 3x3 may have less direct impact on art directors, but it is still a well known directory/ catalogue/ annual with a large international following. I also 1) missed the AOI deadline and 2) the fees for that can be questionable in regards to the potential gain from it.

Regardless, I entered this piece. I feel that as a piece of illustration it demonstrates practicality, sell-ability but also my own personality and ability to work with narrative. It is also one of the pieces I'm more pleased of from 2016, which 3x3 states the pieces should be from. I didn't want to submit it as a series as i see it as a cohesive single image in its original form (a gif). I tried displaying it with borders, but that made it look more like a comic, a storyboard or just six completely separate images. So I went with the above.

contacts

This morning I made a conscious effort to really try and start contacting people. I put together a small pdf of work particularly relevant to editorial, and sought to contact people in that area first with those images.

I tried to take time and care to contact people particularly relevant to me (or rather, I would be relevant to them). Four or so emails in I realised that my emails weren't really leading, and there wasn't really a reason for them to email me back.  It was very much "hello here is my work bye!!!!"

I don't want to make these emails particularly meaty, or really ask much of the other person, but just a small something to sort of suggest input on their part? or at least, brings it back to them. "I hope these can be of interest to you" etc.

I've sent a few, but I feel behind and possibly one of just the huge tidal wave of graduating students. I hope my physical mailer will be of interest to them. I think, for now, maybe it would be an interest to set a goal such as, "email at least one person every day for the next month" This is what I have sent to the editorial art directors

promotional print

It seems quite standard that as means of promotion that artists will send out physical material. It's also quite standard that, although beautiful, a lot of it must be thrown away or isn't noticed so much because a lot of it is very similar. I'm proposing to create an A4 two colour riso print, something that hopefully follows these ideas...

• big enough to be noticed, but not cumbersome
• interesting print process and quality
• cost effective
• not so valuable that it matters too much if discarded :-(

I'll be printing at least 100, so I could even sell some too. 

After asking on social media where for recommendations of riso printers, I was very kindly offered by someone who would do it for me for a very good / cost price!! Other presses mentioned:

• Hato Press
• Ditto
• Risotto
• MK Press
• Crumb Cabin

What matters most is the IMAGE ITSELF! It needs to be at once

• decorative enough to go on a wall, in an office, or even taken home...
• innovative and exciting and stand out
• potentially appeal to a wide array of people- art directors and people working in publishing, agencies, editorial and children's illustration
• something that describes my practice, or at least, the key element of it 

So... if I boiled down what I do, what would this image become? 

• something with shape and movement
• a tiger? that's too tempting :-(
• figures, forms
• expression, sentiment

giclée prints

Whilst showcasing the Out of Order/ cowboy design online I received some interest in further prints being made. I was not happy with the prints made for the show itself, so decided that if I was to make more prints I would want them to be of a high quality.

I opted for giclée printing, but with the high cost of printing and not knowing how many of each would be bought I opted for a pre-order system, so I could order the prints knowing that they were definitely paid for. Seeing as it was a pre-order system, it didn't hurt to offer other designs too, and that also proved successful. 

The sales weren't incredible, which I put down to the somewhat high cost, but, in this instance, I strongly believe in making something of quality rather than cheaply for the sake of it. And regardless, I do not make a loss this way. I have placed my order, and look forward to the arrival of these prints. This way of working certainly isn't a way to make a living, but is a helpful addition to my working and if the market is there, there's no use passing up the opportunity!

I need to

Make some connections, preferably before every art director in the country (and internationally) feels the strain of thousands of nervous art students.

I am still keen on the idea of designing something to send out, that whilst not overwhelming, would be precious enough for someone to want to keep. I also need to start on emailing people more.

Gerry Brakus / New Statesman talk

Gerry seemed to enjoy the work I had produced, and noted that my style would be suited to the stories and creative writing section(s). She spoke of Eleanor Taylor as a reference point, in regards to emotive-ness and stylistically.

Other notes from the talk are mostly in regards to the readable-ness of the images (simple enough, but not cliche), the process of commissioning and the client/ artist relationship.

I followed up the talk with an email to Gerry but got no reply, which is expected and fine (though did receive a follow on Instagram). I also made the mistake of forgetting to attach some work to the email, say, a small pdf or relevant images.

I emailed a rug company that collaborates with artists and illustrators because the idea of a rug made of my work is beyond sparkling. Rugs and textiles are a good vehicle for my interest in shape, minimal colour and forms, I think. Working beyond print, or screen is something that is so exciting but I've never known how to get to, beyond simple packaging and product designs. The way these companies translate illustration to textile is an art form, and although functional, the quality of them as an art piece really catches my eye.

Further note:

writing emails at 11pm may lead to sending wrong pdfs, etc. I replied again in a courteous and simple way, but it's better to just not make the mistake. Be careful!

Update: Node got back to me with a kind turn down- they appreciated my work and thought it could work but right now they're not looking to collaborate with any artists.

Gur are yet to get back, and I'm not sure how long ago their last collaboration was so it might well be that they're not looking / working at the minute.

Regardless of the turn downs, it's still a type of project I would like to continue to pursue.

I joined The Dots,

Notes:

• It certainly seems a lot more interesting to me than LinkedIn, but it does feel empty in comparison. But the ability to showcase work easily wins. Not that you should have to choose one or the other, but I can't fathom the interest to use LinkedIn.
• Some of the tagging systems are confusing, and "illustration" is not an option for many sections, which leaves me wondering what I am. Visual arts?
• What is a level? I assume I am a junior? 
• Labelling yourself as a junior feels similar to me as labelling yourself as a student 

• Seeing my work with itself in this grid format makes me feel... that it isn't very consistent? Though I don't want to be overwhelmed with making things 'commercial', I do feel uneasy about my portfolio. Not even in regards to its consistency, but if it is really the sort of work that I want to continue making. I can be quite quick to jump from one thing to another/ out of personal interest/ perceived interest in change = progression.

website update

Notes and improvements made based on website/ PPP tutorial:

• images are BIGGER
• note: portrait images cannot be viewed 'as one' when they're this big. They can be scaled to the monitor size, but this makes them inconsistent sizes so I decided against that
• email in about page + separate contact page-> with a click through link that takes the person through to their computer email client
• selected work is chronological, with most recent first
• image before biography
• I added a small personal description, but I still can't get my head around how to write one that isn't 'cringe' for me and reader.

All in all -> a clearer website that focuses and showcases the work more.