Big Active (Greg Burn) Blink Art (Helen Parker)
Helen - Head of Illustration at Blink Art. Previously an art buyer, not really a title anymore but the job role still exists. Previously commissioned illustration and photography for print only.
• "Head of Creative Content"
• Blink Productions
• Currently have 16 illustrators on their roster, 4 more joining.
Trends
• Decline of print in the last few years (magazine ads, billboards, tangible...)
• However the likes of Anthony Burrill is still print-based, he is aware of how the media has changed.
• Now apps, websites are measurable - you can see views, interaction, data. e.g. "people spent 33 seconds on our website because of a moving image or video!"
• No longer just about static image. Industry is about creating experiences, through motion, immersive set design, installations, etc..
• Young people are a large trend-setting community
• Digital media has made the value of the image plummet! People still aren't sure about pricing for digital media, e.g. how much a featured instagram post should be
How do you find new artists?
Blink
• Individual style
• Something that hasn't already been done before
• Work that has a deeper level (ideas, humour, emotion...)
• Brands and agencies want ideas
• Blink - what they like, what sits well together, want the artists they represent to work collaboratively and not compete. Stay small. Cross-discipline
Big Active
• Use instagram to find people. Followers and exposure are important.
• Don't discount the things people AREN'T doing
• Instagram has peaked and may diminish soon, potentially making way for a new platform.
• There are so many ways of marketing yourself, so play with technology, be individual, utilise visual references that people aren't familiar with.
• Lots of people copy what's being done, what people are aware of
Relationship with Agency
• Agent used to be very powerful as they are representing you. It's a position of trust, as finance and people's careers are involved. Does the agent have the credentials?
• Now, artists are involved in their own marketing. Be aware of the industry.
• Agents tend to trial a creative before signing. They expect basic professionalism; keeping deadlines, communication, etc.
Collaboration
• Becoming more important
• Find people that have skills which you don't
• We have our own network on the course with our peers, don't let that go!
• Collaboration isn't for everyone but it keeps things fresh
Process
• Artist or agent will be contacted by client
• Will be faced with a mutual non-disclosure agreement (MDA contracts). This is where you may have to keep details of a project secret, but doesn't include copyright or intellectual property. Be aware of this.
• Agent will discuss time, expenses, etc, with artist. Break down the stages of the job into parts, so you get fairly paid.
• Image may be licensed to client for a set period. Once the period is up, charge client again.
• Agents protect artists. Check Ts and Cs on AOI website.
• Before doing any work, issue a purchase order. Include a limit for amendments e.g. "creation fee includes 2x amends" otherwise changes could go on forever - charge for extra changes
Other
• Important to ask when commissioned with a project "have you approached anyone else with the job?" so you know the odds of you actually getting the work, not competing against 12 others.
• "What is it about my work that you like? Which parts would you like to use?"
• When taking on work, consider these three things (ideally, it should cover 2)
↳ Is it financially worth it?
↳ Is it creatively worth it?
↳ Is it good for exposure, leading to other projects?
• Consider what you can be credited on! Even social media features, shares, mentions.
• Brief turnarounds differ from project to project, e.g. editorials = an afternoon, commercial = 3 weeks. Depends on the project itself and the work speed of the artist.
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