Creative Strategy - Professional Practice Presentation

PLAN


STRUCTURE

1. Review of year (level 5, intentions for l6, developing process, professionalism)

2. Ethos and principles (development of a theoretical focus, promote heritage, research at forefront)

3. Manifesto/ after uni (find my place in the heritage & culture sector, how not to go freelance, integrate in research & heritage community)

POINTS TO COVER

- Reflect on learning taken place on PP
- How have I changed as an illustrator and learner?
- Have my ambitions/ professional outlook changed over the course of L6?
- What personal concerns have I developed and how did i resolve these?
- Has PP altered my decisions about my career?
- What aspects of my developing skills set will I take forward after uni, particularly in the professional sense?

SLIDE STRUCTURE

1. Welcome & intro (bookend)

2. INTENTIONS - Successes of L5 and intentions for development over L6

3. VALUES - Transformative moment - volunteering in print workshop JOY OF PHYSICAL CRAFT & WORK

4. PERSONAL PRACTICE - How my practice has built on research and contextual groundings

5. PROCESS - Transformative moment - lettering and concrete poetry

6. PROCESS - learning of new skills > letter press, sign writing, weaving

7. ETHOS - Consolidated my existing focus on aspects of heritage, using my illustration practice to promote accessibility and visibility

9. CHALLENGES - Feeling alienated by constant reminder of being freelance, unsuccessful print fairs

10. PROFESSIONAL PRACTICE - Outward facing profile

11. PROFESSIONAL PRACTICE - Taking on lead roles in delivery of a professional event

12. PROFESSIONAL PRACTICE - Getting in touch with professionals relevant to me

12. AFTER UNI - Establishing thorough experience, researching post-grad study

13. Thanks & questions (bookend)



SCRIPT

SLIDE 1 : INTRODUCTION

Hello there. Reflecting on the year, I've broken my presentation down into 3 areas; a review of my year, my current ethos and principles, and establishing a plan for after uni.

SLIDE 2 : LEVEL 5

-My approach to the initial stages of level 6 was largely informed by the successes and enjoyment of level 5
-My brass band zine and Shakespeare work were both heavily informative to my evolving practice. Both projects allowed me to explore thorough contextual research, a process that grounds my work consistently
-Toward the end of L5, my work became more type and lettering based, another area that has solidified in my L6 practice
-Work was primarily focused on British traditions and heritage, an approach I wanted to explore further this year

SLIDE 3 : TRANSFORMATIVE MOMENT - VOLUNTEERING

- I spent several months over summer, volunteering in the print workshop
- This opportunity served as a transformative moment in my practice as I learnt a great deal more about the practical outlets I could employ my skills in, without being an 'illustrator'
- The experience consolidated my absolute joy in handling objects and machinery, a joy that I would love to have in my professional life, therefore sparking ideas for career opportunities
- I learnt a lot about the maintenance and delivery of a workshop and my image making became more process led, and my outlook became more concerned with this value of 'the maker'

SLIDE 4 : RESEARCH FOCUS

-Starting with my research into Mining banners, then onto brass bands and heritage more widely, contextual and theoretical research is now at the forefront of all my work
-Stumbling across publications such as 'In Loving Memory of Work', enabled me to realise that there is a connection and need for visual language within theory
-Research, critical reading and writing are pivotal to my work and I enjoy reading essays and articles around the themes of my work to really engross myself in the subject
-My practice is grounded in an ethos around the value of sharing heritage and as such writing is important to my creative practice

SLIDE 5 : TRANSFORMATIVE MOMENT - CONCRETE POETRY

-My lettering work in extended practice has been a real turning point for me. It encouraged me to remind my construction of type, but also consider how playful and energetic type can be. 
-Lettering feels like a very free and personal process and I found exhaustive ink work really set my work in motion
-The context of lettering or sign writing fits neatly in my intent for practice, to explore heritage practices, so practically the process of exploring and constructing concrete poetry, supports my image making and conceptual concerns

SLIDE 6 : MORE HERITAGE PROCESSES JOIN THE TEAM

-From my volunteering over summer, I have been encouraged to think even more about the crafts and processes I want to form the base of my practice
-Tangibility is pivotal to my ethos as I love the absolute joy of handling objects and sensing the hand of the maker
-I pushed for a letter press induction as I felt this was not only a skill I could employ in my visual work, but also a practical skill which would aid employment prospects
-As part of my investigation into mining banners, I built a loom and taught myself weaving, and then tried my hand at sign-writing; because why not?

SLIDE 7 : REFINING MY ETHOS

-Stemming from an underlying interest in social history, the role of heritage has really consolidated in my work this year, starting with COP
-My intent for practice revolves around a belief in the value of heritage and traditions, something I felt encouraged to pursue having seen the 'These Northern Types' Exhibition. This exhibition captured the essence of what I wasn't sure I was even supposed to do or make
-I wanted my work to serve a conceptual purpose and drive a conversation about visual media and identity

-Accessibility naturally stems from the issues around heritage and culture so play is still central to developing an appropriate visual language


SLIDE 9 : STRUGGLES & CHALLENGES

- I identified in the middle of L5 that I really didn't want to be a freelance illustrator
- I realised that I didn't see the value in making work for someone else's needs when the whole reason I enjoy my work is because it is made with the intention of processing a personal interest
- Level 6 has naturally been more heavily focussed around being a professional illustrator and so I did feel increasingly alienated and frustrated by sessions about being freelance, I think I just felt a bit isolated and needs to find my own path
- Reaching out to fellow heritage geeks has helped to reaffirm the value in my interests and I've been able to consolidate my definition of illustration
- Being commercial doesn't work for me, I think niche things and make niche work, but that's ok because to make it in research is to expose new things.
-Spending a lot of time writing and reading is right for me! I don't have to draw picture to be an illustrator.

SLIDE 10 : OUTWARD FACING PROFILE

- The PP seminars and workshops have really strengthened my awareness of the necessities of a professional profile. 
- Building a website and promo-pack has encouraged me to be more select with the profile I share with fellow creatives and potential clients
- I have learnt to keep better records and filing systems for my work, in order to maintain a consistent and high quality online presence
- Producing a promotional book allowed me to think about my practice as a short story; what tale to I want to tell clients? The production of a fix-free publication was really rewarding and felt like a real manifestation of hard work

SLIDE 11 : PROFESSIONAL PRACTICE - EVENTS

- Professional development opportunities have come primarily in the form of the Hanbury Symposim, but also through print fairs
- The Hanbury event was a great opportunity to work to a schedule and as part of a team
- I took the lead on production and binding of the group publication, making 20 books for out guests to take away, a laborious but rewarding job
-Opportunities like the symposium have also enabled me to develop my professional communication skills. As an interviewer on the publishing panel, I had to speak in front of an audience, listen intently and form relevant and encouraging questions

SLIDE 10 : CONTACTING 

- I learnt towards the end of level 5 that I don't think I could ever be a freelance illustrator, I enjoy team work and want a community facing practice with research at the forefront of what I do
-Over the course of the year I have had conversations, meetings, and exchanged emails with several professionals working in heritage or researching the field.

- Sustained dialogue with Amy Goodwin, sign painter and current PhD student, has enabled me to find clarity in what it means to 'research visual media'
- A visit to the G F Smith offices in London also reassured me of the opportunities for designers in production and distribution.

SLIDE 12 : AFTER UNI

-On leaving uni, I really want to zone in on my research. My main goal is to become an expert in British visual heritage; I want to celebrate and promote the absolute joy of tangible and crafted objects
-While heritage underpins my intent for practice, I need to embrace this more in my professional work and will need to continue to gather relevant work experience
-A professional profile within the local arts and heritage scene will aid my professional development, something which hopefully should come to fruition from my recent application to join the gallery and heritage team and Sunny Bank mills
- Finally, to feel completely satisfied with my degree, I want to make work for me and for the communities I valu

SLIDE 13 : CONCLUSION

-Thank you
-Any questions?

Creative Discussions - Hanbury Reflection

REFLECTING ON MY ROLES

LEADING THE PRODUCTION OF PUBLICATION

The Hanbury event was a great opportunity to take on a key role in the delivery of a professional networking event. I volunteered to take the lead on the production and assembly of the publication. We had made the group decision to hand-stitch the publication to give it a crafted quality that might enhance how well it was received. As a keen and competent bookbinder, I volunteered to take the lead and produce 20 hand bound publications.

This process was very time consuming and we had a few set-backs with some printing errors but the publications were all bound and trimmed several days before we were due to travel, so I'd say the time management was successful on this project. 

Leading the production of the final publications was rewarding to my evolving professional practice as I was able to execute my binding skills on an external project, applying my process to a new context and delivering a given brief within a given time frame.

INTERVIEWING PROFESSIONALS
This event also offered the opportunity for me to practice my professional communication skills and represent the course in the delivery of a panel discussion. I felt this was a good opportunity to practice my communication skills in a professional environment relevant to the creative industries, and also make myself known to the professional attending the event.

This role also required generation and refinement of informative and professional questions which would lead a beneficial discussion for the audience. I felt I demonstrated really sophisticated communication skills here as I listened intently and tailored my follow-up questions to the answers given, something which I think showed value and appreciation of what our guests were saying, but also demonstrating professional communication skills relevant to other professional occasions such as pitches, collaboration meetings, criticisms with art directors etc.

REFLECTION ON THE EVENT

As a whole, I felt the Hanbury symposium was a real driving tool in the development of my professional skills and outward facing profile. Presence was key and the delivery of a high quality group publication and personal promotional book enabled me to realise the professional level I can achieve through simple development and delivery of a visual profile. The publications, both group and personal, acknowledged me as a professional, not just a student, and I think this has marked a turning point in my thinking; I feel more confidence in my practice, who I am, and what I can offer the industry.

Collaboration and group work can often highlight certain weaknesses and I did feel let down by number of students who contributed to the delivery of the event. The production of 20 group publications, as well as the production of 20 personal publications, was a highly laborious task which took up a substantial amount of my studio time that could have been spent on other work. Although having said this, it was beneficial to my professional practice and development as a team player. 

The event did also reaffirm my goal to be a 'non-illustrator', or certainly not the kind of illustrator that was discussed at the event. There were areas of the industry which weren't represented, but equally I was able to take away some transferable skills and knowledge relevant to my own disciplines. 

Creative Presence - Digital Portfolio

Creative Presence - Online Presence

Creative Strategy - Contacting Professionals

In aid of developing a clearer view of my goal to have a research practice and work in the heritage and culture sector, I have outlined 10 contacts who will be pertinent to my sustained professional profile on graduation, and may become colleagues as I go into working in these industries.

1. Elizabeth Llabres
-Head of Education, and Curator of Industrial and Social History at Bradford Industrial Museum. Elizabeth will be a key point of contact if I wish to get involved with the volunteering scheme in the print workshop of the Industrial Museum and may also serve as a good point of reference for getting into the heritage sector.

2. John Mc Goldrick
-Curator at Armley Industrial Museum, I have been in contact with John since October regarding the collection of union banners, as well as discussing the activation of areas of the archive and delivery of new exhibitions.

3. Mick Welborne
-Print Workshop Manager at LAU and Leeds Print Workshop, I will maintain contact with Mick as he has been able to provide previous volunteering opportunities for me and will be able to advise me on how to develop experience to get to work in a print workshop. I will also need to join LPW to maintain access to facilities on graduation.

4. Amy Goodwin
-I have been in contact with Amy who is a traditional sign painter and current PhD student researching the visual language of the fairground. Amy has been able to provide some solid advice for forming research proposals and gathering experience.

5. Jane Kay
-Jane is the arts manager at Sunny Bank Mills who I have been in contact with regarding a job I have applied for as  Gallery and Heritage Assistant. She will be a colleague and point of reference for developing my career.

6. Gemma Brown
-Gemma has worked closely with me on research projects in the past, at Leeds Museum Archive (LEEDS DISCO). I will continue to be in contact with her regarding further research and areas of the collection.

7. Saul Studio
-This graphic design studio are mutual friends who have already lined me up with some illustration opportunities for Fred Aldous. I shall keep in touch with them.

8. Nick Norton
-My existing manager in my job at the Library, Nick will maintain a pivotal reference point in my transition into the professional world of heritage and collections.

9. Craig Oldham
-I met Craig at a film screening and book launch where we chatted about the merits of discussing heritage in contemporary visual language. I have hand written a letter to Craig since.

10. Andy Gray
-Fellow colleague in the library, I have been discussing research with Andy for several months and we have had meetings to discuss potential post-graduate study and research. As owner of Colours May Vary, Andy will be an important contact for potential exhibition opportunities too.

Creative Presence - Promo-pack

Creative Strategy - CV Writing & Creative CV

• Tailor CVs to each job
• Keep it up to date

Standard CV

• Name and contact details - home address, email and phone number
• Personal profile / statement, around 150 words - conversational. Aims, ambitions, experience (appropriate) highlighting relevant skills (will change depending on what you're applying for)
• List relevant creative experience - competitions, live briefs, commissions, internships, exhibitions
• Education - a-levels, foundation, uni (most recent first)
• Hobbies & Interests - a talking point, be specific about certain things i.e reading, what do you like to read?
• References - "available upon request". Tutors can be your reference, always ask permission first

Creative CV

• Should stand out against other CVs
• Who am I?
• Skills - exhibitions, competitions, education
• Contact details, website
• Emailing CV - format as a small jpeg or pdf
• Some companies prefer email / printed CVs - find out before sending
• Professional but less formal

Academic CV

• For academic jobs, postgrad courses, research funding etc
• More formal and longer, more detailed

For my CV I want to include:

Name & contact details

Creative skills set

Work & voluntary experience

My manifesto
Exhibitions & events 


CREATIVE CV

FORMAL APPLICATION SUBMITTED FOR GALLERY ASSISTANT @ SUNNY BANK MILLS

Creative Strategy - Contracts

CONTRACTS - what are they?

- legal agreements that work to protect you
- set out the expectations of both parties
- can be used to for fee settlement in the event of contract termination

BASIC ELEMENTS

- the work to be undertaken
- timeframe to be completed in
- project requirements
- payment; how? when? fixed term?
- IP ownership
- usage/ resale rights/ licensing

WORK & TIMEFRAME

!!! be as specific as you can

Stipulate - number of days/ milestone/ number of revisions without charge (3 minor)/ kill agreement

- make sure you are provided with all the necessary information and assets

PAYMENT

- where possible, take up to 30-50% up front
- big initial costs should be paid up front e.g. materials
- make terms very clear e.g. 30 days, late fees etc
- do not release final files until payment is received & license your work

STARTING OUT

- register your business on companies house as either sole trader or limited company
- consider your investments or pensions

Sole Trader 
- work by yourself or as a small partnership
- establish a business name
- open a separate business bank account
- register with HMRC, pay tax and national insurance
- VAT only paid over £85,000
- keep records of all business transactions
- legally responsible for any business debts if things go wrong

Limited Company
- not personally responsible for any business issues
- more tax efficient
- have to file annual accounts and corporation tax

Creative Discussions - Hanbury Prep

WHAT IS MY ROLE IN THE DELIVERY OF HANBURY?

1. LEADING ON STRUCTURE & BINDING OF PUBLICATION

2. INTERVIEWER ON PUBLISHING PANEL

3. PREPARING QUESTIONS FOR PANEL DISCUSSIONS



PREP FOR EVENT

PANEL DISCUSSIONS
- each guest to receive 3 key questions in advance
- 2 interviewers per panel (me & megan d)
- learn about your panel, get some context
- listen to their answers and tailor questions to flow on from these

Running order: publishing - retail - studios - advertising - agencies

REFINED QUESTIONS
- What is the selection process when choosing an illustrator for a new project and what is the relationship between author, illustrator and publisher at this stage?

- How can illustrators new to the publishing industry get onto projects or get their existing work published?

-Do you see more revenue from adults or children’s books?

- Can aesthetic or format substantially determine the success of a publication?

PANEL INTRODUCTION

- Good morning everyone

- We're starting off the day on the topic of publishing

- Please give a warm welcome to our speakers;

- We have Sam Arthur from Nobrow

- Nobrow was established in 2008 and specialise in playful formats and concepts

- Second, we have Ziggy Hanaor of Cicada Books

- Ziggy established her company in 2009 and works to a small but highly polished output of books

- and finally we have Sophie Stericker representing one of the UK's largest publishers, Sophie is from Hachette Children's Publishing

PUBLICATION

- content to be designed and printed by Imogen and Ehren

- printed pages to be handed over to me week c. 11th March

- Tues 12th crease centre fold into all pages

- Wed 13th collate pages into individual publications and crop any oversized pages 

- Thurs 14th bind all 20 copies using saddle stitch

- Fri 15th use electronic guillotine to crop all printers marks and finish binding process