trying to use linkedin for advice and to bring awareness to my work

I've seen a few people use linked in to spark up conversations and advice on things they have been working on, i have not quite got the hang of what to do on linkedin yet or use it as much as i should so i thought i would give it a go!

email to Central illustration agency

Hello!,

I have been a keen stalker of the contemporary illustrators you represent as an agency for a while now, and it would be a privilege to get involved with your company. My work would have great symmetry to the practitioners you represent, yet will offer innovation and an alternative working approach amongst your 

existing illustrators. 

I have added the 6 images of my work that I think would be of particular interest to you.

Thank you very much for your time.

Awaiting your reply,

Rebecca Williamson 

http://rebeccawilliamsonillustration.com

after talking to john he suggested changing the email as it was to formal (highlighted the formal parts on email above i was going to send) so suggested this instead:

Good Morning.

As an avid follower of the Central Illustration agency site, and almost becoming a stalker, I have at last plucked up the courage to contact you as I feel my work has some synergy with that I have seen illustrated on your site.

I would really love some feedback on my work and a tentative wish to be part of the CIA portfolio? Therefore I have added some images for you to evaluate and that I feel may 'whet' your appetite.

Looking forward to hearing from you,

Rebecca

'about me' section on website

After talking to patrick, he suggested that i change my bio on my website a little bit, removing words such as 'i like to'  and 'i hope' - these type of words don't fill clients with confidence about my work and about my own confidence in myself as a practitioner! 

he also suggested making a bit shorted. 

before:

Within my practice I enjoy creating detailed work about people or subjects that have a profound story behind them, I like to convey deeper meanings within my work to illustrate a stronger thought-provoking concept by gathering substantial research to gain a better understanding. I hope that by exploring subjects intently, my illustrations will express my empathy towards the matter and justify them. 

When I am not enthralled in my illustrations, you would usually find me with my other passions in life; friends, family, walking (to the fridge), traveling and singing in the shower – a daily ritual. 

After:

i enjoy using detail as a way to express empathy within my work, forming personal and relatable connections between my illustrations and the viewer. i usually use a mixture of pencils, watercolour and fine-liner to create my pieces, sometimes add colour digitally using photoshop. 

when i am not illustrating, you would usually find me with my other passions in life; friends, family, walking (to the fridge), traveling and singing in the shower – a daily ritual.  

PASSING MY DRIVING TEST!

i have finally past my driving test!
i set myself the goal of passing my driving test this summer gone now that i have moved to the middle of nowhere (at home).
i also felt it was important for me to do as it means i could apply for jobs that require travel, or even the ease to meet with clients.

mocking up email to send to Big Active

Hello!

I have recently been introduced to your website by Patrick Holly, it would be a privilege to get involved with your company after seeing the contemporary work displayed on your site, I feel my work would have great symmetry to this work yet will offer innovation and an alternative working approach amongst the variety of practices you represent.

below is some work of mine I think would be of particular interest to you.

Thank you very much for your time.

yours gratefully

Rebecca Williamson

22nd november Agents

Amanda Hall - look at her blog

Agent- A person authorised as an act on another behalf

why - becuase i have other things to do.

PRO'S 

• promo pack i have already created - what do i do with them- they can do it for me. 
• deal with publishers etc - they have to confidence, actively promoting you.
• begining is when your approached by people seeing your work.
• sercuity and authority - client might be less inclined to mess you about.  thinking you don't know everything- a agent wouldn't allow this. 
• they know the people i need to be talking to- who would want my type of practice. 
• advice. 
• a point of contact for clients - if you hate dicussing fees, contacts, conditions etc 
• can have a agent for a specific contact time
• they are committed
• get your work seen
• concentrate more of your time being creative 
• you can insiste of talking to the client aswell

CONS 

• the middle man feeling - no longer incharge yourself. -not 100% sure of what is being said on your behalf
• contacts are hard to make - might feel your loosing relationship with client personally, cant informally take to them about what they want. 
• what would you rather have - 30% of commission price or 100% or no commissions?
• you have to find your own.
• to get a agent you have got to have something they want to sell. 

get to know your worth. 

'having no rep /agent is a lot like being a single parent'

agencies
amanda Hall
michael mullen
mullenillustation.com
plum pudding - agent
handsome frank
central illustration
lemonadeillustration
the aio
jelly london
directory of illustration

have a look at their terms and conditions


'when i get my first job you'll get your money' - only on jobs they give me

changing website header

Textile designers at the cutting edge Bradley Quinn

i really like how he layers scenes and shows the separation by using different medias and colours 

my own website! (paid for!)

http://rebeccawilliamsonillustration.com

paying for a domain name meant that i was able to get rid of the first bit of my url (cargo collective) i hope this will make me easier to find and search for when being googled.

visiting lecturer - victo Ngai

http://victo-ngai.com
Victo creates art for newspaper and magazines such as the New York Times and the New Yorker; 
works on advertisement campaigns with companies like the McDonald's, IMAX, MTA Art for Transit (New York subway), Lufthansa Airline and General Electric.  

Apart from drawing, Victo's biggest passions are traveling and eating. She's hoping that one day she will save up enough to travel around the world and sample all kinds of cuisine. ---- Personal aspect 

....and maybe you? - adds this to the end of he's client list, good tactic 

When and how did you land your first commission? 
A classmate commissioned me to do a comic stripe and paid me generously in candies. If we are talking about professional commission, I was hired by SooJin Buzelli, creative direction of Asset International (publisher of Plansponsor, Plansponsor Europe, Planadviser and aiCIO), during my junior year in RISD. I was 20. My portfolio teacher Chris Buzelli is the husband of SooJin. I did a piece for Chris’s class which caught the attention of SooJin. She then decided to print it in her magazine (thank god). That’s how we started our 6 years and counting working relationship.

didnt have an idea what illustration was either .
solve problems given to them
if you dont keep pushing yourself you dont know that your actually good at it. 
- you end up learning alot. been given the limitations, pushes your creativity 
editorial - abstact 
adv- eye catching, manipulation

what keeps this job exciting is the idea

you need something recognisiable to be thought of - though this could get boring- so keep evolving


editorial -
most abundant
you probably get 2 days max to complte

you domt like showing people unfinished work

nusiness sections prefer something straight forward
you have to be sesitve in medical illustration as the reader ship is often the patient or family - have to make it seem like its manageable - even making th e'bad guy' likeable.


always think about what you want to draw first
bring in your own interests with your commission work


the liberty magazine 
folio - publishing house 


stories and book
you are already given you hero etc
you cant just draw characters you want
how to capture story with right composition 

foreshadow ending without giving it away

vertical perspective - drawing on top of previous scene 

whenever humans see another human - they empathise 

advertisment-
really depends on client how fun advertising is 

not nearly as fun and as fulfilling is the brief is to direct and client gives you to must direction. 

when your working on big corporate briefs - important to have little brief on the side to fulfil creative side

advertising rights : sign up to a 'image time' where they can do what they like in that rime. 

when ever you work with government - the dont have a budget - so we get more bargining power - give you more freedom 

project - jail inmates taking care off old horses - learn empathy 

making clients work personal:

after i read a article i try and boil it down to the essentials - 

it will fulfil as commission - but is still something someone would hand on there wall


style 
its important to be recognised 
broad interest os like a like of different peoples work
confused with what i like to see but what i like to do myself
i was just trying to imitate 

'style is overrated. everyone is born with style.

naturally very drawn to lines

what you are naturally drawn to 
when you close your eyes how do you imagine your world 
- environment open, complex,busy 

digitally compare texture and line - using 2 separate piece of tracing paper (paper and light box)

aslong as the world you create is constant in the piece then it doesnt need to match the real world
we are able to make something photos cant 

usually a piece that is good is a piece that also looks good in black and white

'its not how good you are, its how good you want to be'
paul arden - 
always have a big ambition 
eliminating the ones who dont want it enough
need to be persistent 
if you cannot be wise, present to be someone who is wise. and then behave like they would' - neil gaiman.  make them confident that they have chosen you 'no problem' 

how does your day work: 
as sturctured as possible 
when you dont have boss its easy to slack off
keep a time scale 
try and answer important emails etc as soon as you get it or it becomes a nagging feeling

how do you deal with self dout?
2 wways
keep self pitting
the other is to realise what your feeling and how this could be a motivating 
feeling good enough doesnt push you
take yourself outside of work - change environment

what advice would you give us for our first year of living 
part time job
dont do something simular so you want to do the thing you want in the other time more drive, you'll miss the other.

choosing colour pallets - use other peoples choices as a starting point

networking question:
human connection = most important, one reason why i moved to newyork main place where there were publisers 
go to social events - opening shows etc 
keep showing up 
you'll start to look like you belong
be persistent 
send promo materials and emails

promote own work first - set the ground first 
beter to get agent later

if your having trouble finishing deadlines communicate with client about wriggle room, don't just don't send or be late with commission. it can take just one mishap to ruin reputation.

'good artist borrow, great artist steal' pablo picasso

AURDIO BOOK

• Could you describe your journey to becoming an artist? What were your original inspirations?
• 
  
• What first inspired you to follow the route you have taken?
• 
  
• Who are some of your favourite illustrators/artists? why?
• 
  
• How did you get your first illustration job 
• 
  

• How do you keep your work fresh? Do you need to consciously adapt your style or does it progress naturally?

• Words of wisdom - What advice would you give an aspiring illustrator/animator? - In hindsight, would you have done anything differently? 

Emailing Peter Strain

Hi Pete!

Just thought id drop you an email to thank you for inspiring me to consider text as illustration! 

Within my own work I aim to combine thought provoking visuals, which communicate an underlining story or issue behind them. I have experimented with using digital text to emphasize themes within my illustration, but have not been 100% pleased with the effects of digital type. 

I have noticed many briefs you have worked on require several issues or subjects to be conveyed, and I admire how you’ve combined visuals, shapes and text, subtly reflecting them. 

I especially like the piece you created for 'Blisters 2014', depicting moments from The National song 'Pink Rabbits’. The piece shows you’re in-depth understanding of the song, representing a number of themes without over describing or over working, I love how you’ve used negative space/shape of a mans head to your advantage to communicate how all these thoughts and feelings are going on in he’s head. 

I am currently working on a piece to bring awareness to organ donation by illustrating one mans journey, and positive future since having a heart transplant at the age of 9, is there any advice you could offer me to undergo this brief? - How do you suggest I go about selecting what information to communicate without over complicating the illustration? 

How do you manage to keep your work fresh? Do you need to consciously revise your style or does it progress naturally?

Thank you for your time, 

Rebecca Williamson 

i havent yet got feedback from this email yet.


though i read this email a number of times, I'm really annoyed at myself for addressing him as 'Pete' as after looking on he's site URL it is addressed 'Peter strain'. i hope this doesnt reflect badly on me, coming across cheeky and too informal.


i really tried to incorporate pointers/tips made by 'live hard-how to talk to you're hero's' such as being inquisitive about their and therefore showing you are generally interested. also putting across that i 'know what i am talking about' in the sense that i have my own work/practice i have been developing for a good time and haven't just got into something at the last minute.

learning about Peter Strain before emailing him and thinking about what to ask.

His work is inspired by film and music as well as social, political and cultural issues. He tackles these with a highly distinctive hand lettering style, bold imagery and humour.

how do you select infomation you want to visually communicate within your pieces? 

The song describes, among others things, an argument between a couple out in the rain. The singer (Matt Berninger)]

 ‘Look, this is what I’ve already done, on my own,’

Show that you’re inquisitive and committed and not just looking for a handout, and you improve your chances enormously.

i aim inspire people to.... with my work 

on’t ask them for stuff straight out of the gate, just interact with them

comment on someone’s blogposts, letting them know which ones you like (and why)

reflecting subtly 

you've inspired me to experiment with using text as illustration (not typed digitally) 

• Could you describe your journey to becoming an artist? What were your original inspirations?
• What first inspired you to follow the route you have taken?
• Who are some of your favourite illustrators/artists? why?
• How did you get your first illustration/animation job?

• How do you keep your work fresh? Do you need to consciously adapt your style or does it progress naturally?
• Words of wisdom - What advice would you give an aspiring illustrator/animator? - In hindsight, would you have done anything differently? 

Creating Zine for thought bubble

above is the first zine i created using work from summer. although this was the brief, i couldn't help feeling unconfident with it as i wasn't happy with all the content. alot of the work i created over summer was colour based, using water colour etc, therefore i felt by making it black and white made it less effective and aethectially pleasing. i also found it hard to fill the pages with relatable content - e.g. the drawing of the hand cream - what do i put on the other page which doesnt look random?

above is a pdf of my final zine. i am happy that the content now has a recurring theme page to page, making it feel like a actual book/zine with a purpose.

i came across a lot of technical error when producing this zine which took up a lot of time!

• not selected double sided print the bleed added had a error, which meant all content shifted to the left a tad, resulting in my double page images being off centre and printing on wrong pages.
•  i had recently updated my indesign version on my computer which unbeknown to me meant i was unable to open the file on the collage computers.

notes from portfolio group tutorial with Patrick

the jump from a student creative - professional creative 

web based portfolio:

• website - vital needs to be robust and link to social media, contact details, blog - punchy, responsive (anaysis) 
•  draws in
• link social media to website - separate from personal life.
• separate email accounts?
• within web you can have sub categories to show certain types of work 

print based portfolio:

•  direct, intimate
• core portfolio of 10 images headlining work I’ve been doing  - from this i can build and reshape when nessesary
• maximum A3 portfolio - 
• if your working in print its essensial to show a print. 
• invest money in it. - it will pay off when you get clients through. 
• no working drawing - all end products. 
• generate more then 2 portfolios - to tailor to client 
  swamping with enormous about of visuals will confuse

need to write a personal statement - 5 or 6 sentences, put on website etc

how would you describe your self 

take a testimonial from clients 

need to be professionally ready by MAY

start thinking about area i could go into:

• identify the business, identify money - email them through your contact email from your website. introduce yourself, polite show your work. link to web 
• take portfolio -tailor what you show to client research you have undertaken, they would expect you to know about them.

have a look at what they’ve previously done/used - show you can reflect this type of work (as they may be looking to carry on) they will be flattered that you’ve already looked at their work) but show them you can go in other avenues. 

• could possibly ask for a visual steer in email before hand so you know what to take. ‘is there anything you want me to thing about, prepare for?’

style guide:

it is all coming from the same source and is obvious its coming from the same source - 

simple is best 

who you are what you do

TASK 1:

AUDIT- round up, take stock of what i am doing - the work itself will catologue itsself naturally and themes should start appearing.

edit down to 10 image- from different themes - the most indicative. think about why each piece is good - SO you can communicate and explain specific pieces the best you can. 

this will help clarify the type of work you should be producing from now on. 

be Objective

consistancy - content and approach and always QUALITY.

research into websites you like - but on blog 

hallmark internship

http://corporate.hallmark.com/Company/Internships

bring along promo stuff etc for portfolio workshop

document thought bubble experience.

friday 9.30

ycn briefs now live

task

choose someone to get in touch with - doesn’t have to be an illustrator 

• someone that interests me 

write 250 words about the negatives, positives and the process of getting in touch.

LINKEDIN

LINKEDIN

tell them you are a specialist in illustration 

tell them what experience you’ve had

dont say currently studying 

look for children book writers etc- look for collaboration  - dont just look for illustrators 

dont compromise your personality

E.g of showing personality, making him stand out and interesting is Kevin O'malley

kevin o’malley 

• be communicators 
• -get people exciting
• it will only come through confidence in what your doing

how to get paid.

make sure you have a order number/proof of work asked and agreed or these excuses could be used:

‘the work was never used, the work was unauthorised - there was no budget’

1.37-

• take a view of client brief
• discuss and clarify with client exactly the client wants
• remember to add on material costs
• itemise and estimate all content needed and timings- itemise invoice - break down cost
• CHECK
• advise client by email - so its date stamped and time stamped

ONLY on agreement start work

when writing in response to clients brief:

‘ i have estimated that i will need … hours for all initial sketches at £… a hour

(within this cost we will have room for 2 revisions)

tell them what they are paying for-(so if they want it revised, the price will go up) 

on agreement i estimate each illustration to take 2 hours at the cost of 30 a hour.

5 illustrations 30x5 =390

Project terms:

'i always request initial deposition of £50 of estimated total cost before commencement.'

CAN YOU SEND ME AN OFFICIAL PURCHASE ORDER NUMBER.- this is proof a deal was made - say this is just for account purposes etc as to not overwhelm or scare the client. 

experimenting with zine pages

level 5 and level 6 have been given the opportunity to create a 12 paged zine (+front and back cover) to go into this years thought bubble.

our brief was to create work over summer in a sketchbook (quick sketches) that could be added to this zine.

below i have played around with adding some illustrations from summer into the zine format (a4 paper folded in half) 

im not particularly happy with my zine pages. i feel it has no theme - its very mis-matched.
unfortunately i wasn't happy with many of my drawings from over summer as we had to produce quick sketches a day - something i do not particularly enjoy doing as my practice tends to be time consuming on one drawing at a time, therefore what i produced doesn't show my best work or is very recognisable to the type of work i would produce for clients.

Can i use illustration that were not created in summer?
this is something i will have to check with tutors, but i would much prefer showcasing work in this zine that i am proud of and nest represents me as a practitioner, i feel this will give potential clients a clearer idea of my practice. i don't want to waste a great opportunity getting my work out there if i am not happy with the images i choose to show.

i feel spending time creating more work for the zine that i might not even want to use will take up vital time i need to focus on other modules that are getting marked.

leftbankleeds.org.uk

left bank

discussion with john and PPP and general practice!

i mentioned to john how i feel i need to time to experience new things and places as i have been in education since primary school, i dont feel i have had a change to really have strong opinions or visit places to influence me and the way i feel and think. 

'will i forget what i have learnt if i don't do it for a while and travel?'

john; 

'you cant,  you are more influenced from what you are going to do depending on what you wanna do, if you want to go traveling and go to a completely different culture you will see the sky different, you will see colours differently, you will see cultures different, you will see peoples take on life differently.

be careful when you are traveling 

 i love south Africa, i love cape town, but i don't like Johannesburg and i dont like ….. i find them really frightening places, but why is it - its because of the experience i have had that puts me off a bit. - it does effect you, and then you will have a comment, weather its visual or sociable.’ 

you have to investigate yourself first- what makes me, ME. 

what i like to do when i quite - e.g day time tv- what do i like about it ?

ask my friends

listen to something 

what imagery comes to your mind.

finding time for to reflect on 'me' is something i don't feel i do. though i deal with my everyday life everyday i don't (i may subconsciously) think about how it is inspiring, effecting or influencing me. i feel i 100% need to get involved with other things other than illustration as this will inform my thinking and opinions on the world - influencing my illustration. it is nice knowing that i dont nesscessarily have to be particular about what i put on this blog, it doesn't need to be all about illustration and my course, it can also be about me, and what i find interesting. - again, what makes me me. 

i think reestablishing this in my head, i will find it easier to blog often as i dont really need to think about what i am blogging. 

http://www.shotopop.com

london based.
group of illustrators animators.
get in touch with them via twitter Instagram Facebook, Tumblr email

shows case studies, work etc

talking to 'heros'/ other illustrators 

if they won’t speak to you, need to do something drastic. 

email them to tel them you hate there work just to get a reply

send them a illustration.

point people toward my website!

try and makes everything cohesive; Instagram, snapchat, fb, twitter, website, with everyplace, every point of contact should be there. so when a viewer gets on/see one of my pieces I’ve uploaded, they can easily click and view my other platforms or email me.  

Using life as a educator

works for drop box 

never been to collage

'my names Justin and I’m still trying to figure it out.' 

talks about himself and things around him - this makes him makes him much more interesting, approachable and 'normal - like you and me 

‘i love waffle house’

‘im a husband and a father’

‘i dont like using big words’

nice to hear about how he’s journey to be a designer was bumpy- makes me feel that its not the end of the world to go through bumpy patches too - it will get better. 

learning to stay curious and learning to be aware of whats going on around you really gave me a lot to challenge myself outside go formal education. 

'being normal is ok..but i wanted to challenge myself to not be normal and to think differently, and there something about getting your hands dirty and taking risk just to try new things and learn from the process….

challenge yourself to move away from the obvious and try something thats foreign and different to see f it work- don't be afraid to thing bigger and to turn a very normal project into something more. thinking out side of just the normal usage of something can be really effective and create a different experience.' 

through a lot of trail and error frustration with customers and just being a perfectionist i was able to walk away from 'failed experiences’ look back and grow from that experience. - chose to move on and put the darkness behind me , its good to move on from things'

be adaptable

'i initially found it really hard to accept change - project to project, job to job. as designers we just need to be ready to change and go at the flow. change doesn’t have to be a bad thing and even though its difficult there is always a brighter side at the end of that. 

just deal with it.' 

Get inspired

the world is full of free inspiration - and its away from your screen!

just disconnect and look around

have a conversation 

go for a walk 

listen to music 

read a book

play a game 

draw something stupid 

be rebellious

take a risk

DO SOMETHING NEW

its really easy to stay in the mode where your sitting at your desk looking at your computer, nose in your phone - your missing all the things that are going to inspire you and more then like going to influence your work 

learning somethings is never something you stop doing, and learning something from experiences in life can be a huge advantageto every project and everything that you touch.

LIFE CAN BE AMAZING -use this as your inspiration 

stay open minded.