Wednesday, 20 February 2019
Thursday, 14 February 2019
Creative Strategy - Going Freelance
LIFE AS A FREELANCER
My current concerns:
- gathering a professional reputation and getting work
- knowing how much my work is worth
- knowing how much work to make to meet my clients expectations: process vs. product
- identifying how a non-practice would pan out:
WHAT IF I DON'T WANT TO BE AN ILLUSTRATOR?
What would be the shape of a working day/ week:
- if home-based; get up and treat the day as if leaving for work
- identify one activity that marks the start and end of the day e.g. walk, answering emails etc
- aim to complete wok during the week, don't rely on weekend as work will expand to the time available
What are your strengths? Practical skills/ management/ people skills etc
- professional communication skills; able to write a thorough and coherent explanation/ proposal
- wide body of practical skills/ different analogue technical competencies; niche skills/ specific skills set
- professional and confident verbal communication skills
What do I need to develop?
- confidence in my own work and its value
- time management and motivation
- commitment to briefs; don't give up
- find passion in my practice without the end goal of being a freelancer; If I do not want to be a freelancer, why is my illustration practice important?
Networking: Contacts who may be useful in the future
- peers (reference/ advice/ collaboration); Hollie Fuller, Lucy Scott
- curators & heritage workers; Elizabeth Llabres, John McGoldrick, Chris Sharp
- library staff (maintaining collection work); Nick Norton
- workshop staff with external practices (teaching opportunities); Mick Welborne
- volunteering & paid archive/ heritage opportunities; Gemma Brown, Jane Kay
- research based practitioners; Amy Goodwin, Andy Gray
- fellow creatives (skills swap/ collaboration/ advice on other contexts); Saul Studio,
We Are Margot
Where will I be working and what might I need?
- Intent to work in heritage and culture with illustration as side project
LOOK AT - apprenticeships/ training schemes/ residencies
BUY - library subscription/ print workshop membership/ adobe suite/ high quality, larger scale printer
Developing a support network
- maintain relationship with course mates
- sustain an up to date relationship with tutors and workshops staff to keep in the loop for vacancies/ presentations/ outreach opportunities
- keep going back & keep in touch
TIPS TO REMEMBER
- finish your working day with a set amount of ideas or outcomes to reflect on, keep consistent goals
- maintain THE HUMAN TOUCH; try a skills swap if you need help, host a workshop, in-person networking
- always remember to follow up on meetings; stay in peoples minds
- appreciate your followers
- DEFEND YOUR CASTLE
- take your budget seriously, be transparent and you will be taken seriously
- maintain clear and consistent T&C's
- BE RELIABLE
- don't be afraid to turn work down
My current concerns:
- gathering a professional reputation and getting work
- knowing how much my work is worth
- knowing how much work to make to meet my clients expectations: process vs. product
- identifying how a non-practice would pan out:
WHAT IF I DON'T WANT TO BE AN ILLUSTRATOR?
What would be the shape of a working day/ week:
- if home-based; get up and treat the day as if leaving for work
- identify one activity that marks the start and end of the day e.g. walk, answering emails etc
- aim to complete wok during the week, don't rely on weekend as work will expand to the time available
What are your strengths? Practical skills/ management/ people skills etc
- professional communication skills; able to write a thorough and coherent explanation/ proposal
- wide body of practical skills/ different analogue technical competencies; niche skills/ specific skills set
- professional and confident verbal communication skills
What do I need to develop?
- confidence in my own work and its value
- time management and motivation
- commitment to briefs; don't give up
- find passion in my practice without the end goal of being a freelancer; If I do not want to be a freelancer, why is my illustration practice important?
Networking: Contacts who may be useful in the future
- peers (reference/ advice/ collaboration); Hollie Fuller, Lucy Scott
- curators & heritage workers; Elizabeth Llabres, John McGoldrick, Chris Sharp
- library staff (maintaining collection work); Nick Norton
- workshop staff with external practices (teaching opportunities); Mick Welborne
- volunteering & paid archive/ heritage opportunities; Gemma Brown, Jane Kay
- research based practitioners; Amy Goodwin, Andy Gray
- fellow creatives (skills swap/ collaboration/ advice on other contexts); Saul Studio,
We Are Margot
Where will I be working and what might I need?
- Intent to work in heritage and culture with illustration as side project
LOOK AT - apprenticeships/ training schemes/ residencies
BUY - library subscription/ print workshop membership/ adobe suite/ high quality, larger scale printer
Developing a support network
- maintain relationship with course mates
- sustain an up to date relationship with tutors and workshops staff to keep in the loop for vacancies/ presentations/ outreach opportunities
- keep going back & keep in touch
TIPS TO REMEMBER
- finish your working day with a set amount of ideas or outcomes to reflect on, keep consistent goals
- maintain THE HUMAN TOUCH; try a skills swap if you need help, host a workshop, in-person networking
- always remember to follow up on meetings; stay in peoples minds
- appreciate your followers
- DEFEND YOUR CASTLE
- take your budget seriously, be transparent and you will be taken seriously
- maintain clear and consistent T&C's
- BE RELIABLE
- don't be afraid to turn work down
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