Here is a price guide made up by the AOI to help illustrators understand the general prices of commissions. This list helps illustrators to price there work and also not get ripped off.
Friday, 9 March 2012
Price Guide
Wednesday, 7 March 2012
Competition - Red Bull
I have entered a competition this academic year and it was the Red Bull Canimation competition.
The prize for the competition was an internship with an animation company and also the winner video was shown on channel 4 and in cinemas in the UK.
I did manage to win the competition but i was in the top ten in the country and become a finalist.
To get to the top 10 i had to get as many views as possible by the public. I don't feel this is a fair way to run a competition as some good animation may never be seen due to lack of social networking. I thought it was unfair for people without social network sites.
I promoted my video as much as i could by emailing and phone other universities and colleges asking them to contact there students, i emailed all the students at PCA and also managed to get into the local paper to get some support. Here are the viewing figures of my video over the two weeks of voting.
As you can see, from promoting my work i got over 3,000 people to view my work in two 2 week. I don't think this is a bad achievement and i think i done well to get there kind of figures. This shows how easy and fast self promotion can be if done properly and try every avenue.
Tuesday, 6 March 2012
Acceptance of Commission
Acceptance of commission is a document that is an agreement that you will work with the client and take the commission. This should be signed by both parties as a form of binding contract, binding the seller to take the commission and deliver on deadline but also binds the client to paying for the commission at the agreed rates and stay within the terms of copyright.
This document contains similar information to that of the invoice:
- Fee and VAT included - This tells the buyer what they have to pay
- Expenses and VAT included - This is money the client has to pay for expenses due to the job (e.g. travel costs to meeting with client)
- Names on both buyer and seller - so everyone hows who is dealing with who.
- Names of Contact for commission and job title - This allow you and the company see who you have been dealing with during the commission.
But this document must also contain:
- Deadlines - the dates for both the roughs and also final artworks
- Terms of Copyright - this state who the copyright is granted to (e.g. client), its use, the duration of it use, Area which the licence is covered (e.g. Only UK, World), exclusive or non exclusive (will the artwork be only use for one exclusive client for a period of time or not)
- Any special terms
The document also contains the Terms and condition of the contract. The AOI supply general terms and conditions which can be copied into any document. They cover everything and helps protect yourself from being ripped off or exploited. Before using these terms and conditions, they need to be read through so you understand how you are protected.
TERMS & CONDITIONS
- The copyright in artwork commissioned by the Client shall be retained by the Illustrator.
- The Client or the Client's customer (where the Client is acting as an intermediary) is granted a licence to reproduce the artwork solely for the purposes set out on the face of this acceptance of commission. If the acceptance of commission is silent, the Client or the Client's customer is granted an exclusive licence for one time use in the United Kingdom only.
- During the currency of the licence the Illustrator shall notify the Client of any proposed exploitation of the artwork for purposes other than self-promotion and the Client shall have the right to make reasonable objections if such exploitation is likely to be detrimental to the business of the Client or the Client's customer.
- Where use of the artwork is restricted, the Illustrator will nominally grant the Client or the Client's customer a licence for use for other purposes subject to payment of a further fee in line with current licensing rates to be mutually agreed between the Illustrator and Client.
- The licence hereby granted to use the artwork is contingent upon the Illustrator having received payment in full of all monies due to her/him and no reproduction or publication rights are granted unless and until all sums due under this Agreement have been paid.
- The licence hereby granted is personal to the Client or the Client's customer (where the Client is acting as an intermediary) and the rights may not be assigned or sub-licensed to third parties without the Illustrator's consent.
Payment - The Client shall pay all invoices within 30 days of their receipt. Interest at a rate of 2% per month is payable on any balance unpaid after 30 days of the date of invoice.
Cancellation - If a commission is cancelled by the Client, the Client shall pay a cancellation fee as follows:
(i) 25%of the agreed fee if the commission is cancelled before delivery of roughs;
(ii) 33% of the agreed fee if the commission is cancelled at the rough stage:
(iii) 100% of the agreed fee if the commission is cancelled on the delivery of artwork;
(iv) pro rata if the commission is cancelled at an intermediate stage. - In the event of cancellation, ownership of all rights granted under this Agreement shall revert to the Illustrator unless the artwork is based on the Client's visual or otherwise agreed.
Delivery - The Illustrator shall use her/his best endeavours to deliver the artwork to the Client by the agreed date and shall notify the Client of any anticipated delay at the first opportunity in which case the Client may (unless the delay is the fault of the Client) make time of the essence and cancel the commission without payment in the event of the Illustrator falling to meet the agreed date.
- THE ILLUSTRATOR SHALL NOT BE LIABLE FOR ANY CONSEQUENTIAL LOSS OR DAMAGES ARISING FROM LATE DELIVERY OF THE ARTWORK.
- The Client shall make an immediate objection upon delivery if the artwork is not in accordance with the brief. If such objection is not received by the Illustrator within 21 days of delivery of artwork it shall be conclusively presumed that the artwork is acceptable.
Approval/Rejection - Should the artwork fail to satisfy, the Client may reject the artwork upon payment of a rejection fee as follows: (i) 25% of the agreed fee if the artwork is rejected at the rough stage.
(ii) 50% of the agreed fee if the artwork is rejected on delivery. - In the event of rejection, ownership of all rights granted under this Agreement shall revert to the Illustrator unless the artwork is based on the Client's visual or otherwise agreed.
Changes - 15 If the Client changes the brief and requires subsequent changes, additions or variations, the Illustrator may require additional consideration for such work. The Illustrator may refuse to carry out changes, additions or variations which substantially change the nature of the commission.
Warranties - Except where artwork is based on reference material or visuals supplied by the Client or where otherwise agreed, the Illustrator warrants that the artwork is original and does not infringe any existing copyright and further warrants that she/he has not used the artwork elsewhere.
- The Client warrants that any necessary permissions have been obtained for the agreed use of reference material or visuals supplied by the Client or its customer and shall indemnify the Illustrator against any and all claims and expenses including reasonable legal fees arising from the Illustrator's use of any materials provided by the Client or its customer.
Ownership of Artwork - The Illustrator shall retain ownership of all artwork (including roughs and other materials) delivered to the Client.
- The Illustrator's original artwork shall not be intentionally destroyed, damaged, altered, retouched, modified or changed in any way whatsoever without the written consent of the Illustrator.
- The Client shall return all artwork to the Illustrator not later than 6 months after delivery in undamaged, unaltered and unretouched condition although the Client may make and retaln transparencies to enable it to exploit the rights granted with the artwork.
- If the artwork is lost or damaged at any time whilst in the Client’s custody (which shall mean anytime between delivery of artwork to the Client and its safe return to the Illustrator0 the Client shall pay compensation to the Illustrator for the loss/damage of the artwork at a rate to be agreedor, in default of agreement, decided by the Ethics Committee of the Association of Illustrators.
- THE CLIENT SHALL NOT BE LIABLE FOR ANY CONSEQUENTIAL LOSS OR DAMAGES ARISING FROM LOSS OR DAMAGE TO THE ARTWORK.
Credits/Moral Rights - The Client shall ensure the Illustrator is credited in any editorial use of the artwork. Credits for non-editorial use are not required unless so indicated on the front of the form.
- The Illustrator hereby waives the right to injunctive relief for breaches of the right of integrity and the right of paternity.
Samples - Unless otherwise agreed, the Illustrator shall be entitled to receive not less than four proofs or printed copies of the work.
Notices - All notices shall be sent to the Illustrator and to the Client at the address stated in this Agreement. Each party shall give written notification of any change of address to the other party prior to the date of such change.
Governing Law - These terms and conditions are governed by the law of England and Wales and may not be varied except by agreement in writing. The parties hereto submit to the non-exclusive jurisdiction of the English Courts.
Ownership of Copyright/Copyright Licence
Reflection
One thing i don't understand is that this is a form of contract between both the client and also you the artist, so why don't both parties have to sign the form. This is a form of agreement and i would think both parties must sign. On the AOI site they just say the illustrator signature but who does this give you anything to fall back on as the terms and conditions have not been proved to be accepted without a signature.
this little message is on the example I has given:
The Standard Terms & Conditions for this commission and for the later licensing of anyrights are shown on the back of this page. Please review them together with the above and let me know immediately if you have any objection or queries. Otherwise it will be understood that you have accepted them.
This makes there no need to get a signature from the client or other party. I guess this makes the process simpler and less of a hassle.
Another thing that was not on the example sheet we got (at the some) was a tick box for credit with artwork. I have put a checkbox on the Acceptance of commission form i put together. This means the client was to credit you for the artwork where it is displayed. This helps get your name out there with your work.
Another thing I noticed is that the VAT on the sample sheet is wrong, as in 2011 VAT increased from 17.5% to 20%. I have used the current VAT on my mock forms.
Invoice
An invoice is used as a bill ready for payment. This is a document handed to the client at the end of the job which contains most of the information that is present on the acceptance of commission form. The generally things an invoice contains is:
- The title of invoice - so the receiver understands the document they have been given.
- Unique Reference number - This help number would help me to keep my books in order and stay on top of many jobs at once.
- Date of the invoice - This helps the buyer to see how long they have to pay from the date of receiving this document
- Fee and VAT included - This tells the buyer what they have to pay
- Expenses and VAT included - This is money the client has to pay for expenses due to the job (e.g. travel costs to meeting with client)
- Names on both buyer and seller - so everyone hows who is dealing with who.
- Names of Contact for commission and job title - This allow you and the company see who you have been dealing with during the commission.
- Purchase order number - this is a number given by the client or company so the job can be tracked or found quickly
- Description of product - The produce which is being sold
- Payment terms - this concerns method of payment, date of payment and any detail about late payments.
Another thing I noticed is that the VAT on the sample sheet is wrong, as in 2011 VAT increased from 17.5% to 20%. I have used the current VAT on my mock forms.
Friday, 2 March 2012
Mind maps
Illustration can be found everywhere in so many forms. By making these two mind maps, I have really shown myself how wide a career in illustration can be. There are a great deal of paths that are open to me.
Reflection
Out of the mind map of job there are a few that i would be interested in -
- Editorial illustrator - When doing the mock editorial project i found the i can work to very short deadlines. I feel i can deliver good artwork which under an amount of pressure.
- Animation - I want to work and be involved in the animation industry. Animation is something that I have always been interested in and something id like to pursue.
- Music industry - I am a massive fan of music and it packaging. I love buying CD and going through the booklet looking at the artwork and way the thing is put together. It something id like to be involved in.
- Products - Id love to have my own shop online to keep a flow of money coming in.
- In-studio work - I really like the idea that i could work 9 - 5 and get a steady income. In-studio is really appealing to me.
- Tattoo - This is the plan B. If illustration does not pay off for me, I would probably go into the tattoo and tattoo design industry. Training is involved but tattoo artist can make a great deal of money and pretty constant.
Portfolio and interviews
The only thing between you and the art director or client is your portfolio and it can get you the job or in some cases not. There are a number of do's and dont's when it comes to portfolios.
Do's
Do's
- Have 12 professional and well polished pieces of work.
- The work that is in the portfolio has to be relevant to the job that you are going for.
- Show versatility within your work.
- Variation in sequence.
- The portfolio has to be clean and professional. Good quality portfolio sleeves with no marks.
- Include work that has been commissioned or published (this will show that you no what you are doing and are professional)
Dont's
- Never include any weak work just to increase your portfolio. Take your time when putting a portfolio together, trust your instincts.
- Don't include any work of mediums, like silk screen printing, which you can not produce due to lack of the equipment.
- Any work that has been done for family members or friends (e.g. portrait of family)
- Life drawing cause as an illustrator its taken for granted you can draw.
The portfolio is extremely importance but in an interview there is one thing that can lost you the job even with the best portfolio in the world, and that you.
The way people hold themselves is very important as it effects the way they think of you as a professional. here so pointers-
- Professionalism - you need to come across as a professional that the company or client would love to hire. Small gestures such as the exchange of a hand shake at the beginning and end of a meeting is a easy way of showing professionalism and also good manners.
- Communication skills - you need to be able to get your point across while sounding confident. A confident speaker comes across as a person who knows the industry and what they are doing.
- Good time keeping and punctuality - This is important as if you are late or rushed the client will already make judgments about you as a person before you have even spoken. Being on time or slightly early shows that it matters to you and it something you want to do.
- Articulation - Like communication skills, being articulate will help you get your thought and ideas across. Swearing is unprofessional.
- Presentation and dress code - The way an individual holds themselves and dresses is important. If you are smart and present yourself well, it looks like you care and have gone to an effort for this job interview.
- Attendance - Attend, you cant get the job if you don't attend. is it better to be last for a good reason and attend than not turn up what so ever.
Reflection
I have had a few interviews in my life and they have all gone relatively well, no major blunders. One thing on this list above stands out to me quite a lot. Time keeping and punctuality is a problem for me I have found. For example, In college I am in everyday I have to be and haven't miss one but unfortunately i find it hard getting there on time everyday. This is a major issue that will need to be address before I face the real work as being late to an interview or meeting would make me look very unprofessional and would look bad on me before the interview even begins.
Thinking about portfolios, as i don't really think i am going to specials (e.g. children's books, editorials), I think I will have to have many portfolios for different purposes. This would allow myself to be ready with a portfolio no matter what kind of job it is. I think it would take time to organise my work into different portfolios but i think in the long run it would be greatly helpful.
Thursday, 1 March 2012
Note on having got the job
Having got a job there is a great detail to think about and the most important thing is to understand the brief completely and if there is anything that you are unsure about, ask the client.
Things to think about after and before taking a commission-
- Deadline for rough and final (are they realistic)
- Colour scheme within the artwork (is it black and white, full colour)
- Medium used (e.g. Pencil, pen, watercolour, digital)
- Style within work
- Measurements of the piece. Be it landscape or portrait
- Does the image need a bleed
- What format does the end produce have to be in if digital
- How the artwork will be used and for how long
- Payment and payment methods
- What are the terms and conditions of the brief
Reflection
I feel that i am generally quite a confident person with a good level of communicational skills so I don't think communication with a client would be difficult for me.
Tax return
The steps to register as self-employed:
- You must tell the HM revenue and customs that you are self-employed by filling in a self assessment form. (Link Register online for Self Assessment and National Insurance contributions)
In 2012, a person can earn up to £7,475 and not be taxed. This is quite a large amount for a person to earn in there first few years of professional illustration. Tis allows you to earn £622.92 a month or £143.75 a week without being taxed.
Working out Tax
Being self-employed, tax has to be worked out by the individual.
Basic Rate 20% £0-£35,000
Higher rate 40% £35,001-£150,000
The way tax is worked out is rather simple. You the the gross income for your year and minas the £7,475 of the tax free earnings. So if the gross income was £40,000, minas the the tax free income which comes to £32,525 which falls under the basic rate of 20%. So the £33,525 is taxed by 20% which is £6,505 (divide the figure by 100 and times it by the %)
To pay this tax
A tax return has to be completed each year to pay your tax. You will be given a 10 digit tax reference called a Unique Taxpayers Reference. A letter is sent around April each year as a reminder to fill out a tax return. the tax return can be sent both paper based or online. The online tax return has some advantages as it is quicker.
The deadline for paper tax return, it must get to there by midnight on the 31 of October. If the deadline is miss, the tax form will need to be returned online.
Sending you tax return online it must get to the HMRC by midnight on 31 January. The Penalty for late returns is £100 and more penalties can be issued the later it is left.
Reflection
I think an easy was to get around this ideas of collecting your own tax is with every commission, remove 20% and put into a bank account. This keeps the tax separate and together if tax needs to be paid that finical year. If the money is not need as the £7,475 has not been meet, the money in the account comes back to you.
Wednesday, 8 February 2012
Jobs
I had a look at http://www.peopleperhour.com/ to look at what low paid commissions are out there. Here is some i found:
T Shirt designer and branding
Summary:
- Looking for help to set up a clothing brand for a new clothing company
- Wants is it the style of clothing brand CrossHatch
- Brand name, Brand design and also 6 t-shirt designs
- Budget £50 - £130 fixed figure
To come up with an entire brand would take a long time
- Brand name = 1 week
- Brand logos and design = 2 weeks
- 6 t-shirt designs = 1-3 months (3 month being 6 quality very polished designs)
That comes to about 4 months to do to a high professional standard.
If you obtain the full £130 of his budget, per week (as there is no point in doing hours) you would get paid £7.65. Minimum wage per hour in this country is £6.08.
This commission is extremely poor not only for pay but what is being ask of the designer. The client is asking the design to create him a band for him to make money for himself without putting in any work. There is no mention of royalties of sales or anything past the design stage. Id question what the client is bring to the table as it be easy for the artist so set up a brand themselves and keep 100% of the takings. There are shops and online shops that will only take commission when sold and not everything which is what it sounds like here.
This is a better commission i found.
Promotional illustrations
Summary:
- Promotional illustrations for website (Mazuma moble)
- Could be demand for weekly updates
- images produced at agreed fee
- Hourly rate of £10-£30 per hour
- Budget of £173
To produce a good simple Illustration i don't think would take a great amount of time.
- Character design = 2 day
- produce the illustration = 1 week
so 9am to 5pm for 9days. 8(hours) x 9(days) = 72(hours of work) - weekends = 56(hours)
So 56 hours at the lower rate is £560 pounds. On minimum wage £340.48.
As you can see these figures are far bigger than £173, but I think there is other factor which would make this commission worth while.
The image will be seen by a lot of people as its on quite an established company so i think your work would get some good exposer. The other thing that is good about this is there is room for more work on a weekly basis by the same client.
Im not sure if i would take this commission but i think i would consider it quite a lot. Its not a bad wage compared to other low paid commissions and also the images would get exposer. There is also a possible future with the company.
Copyright
Copyright by definition is:
'the exclusive and assignable legal right, given to the originator for a fixed number of years, to print, publish, perform, film, or record literary, artistic, or musical material'
Copyright basically in the world of illustration protects your work from being reproduced, plagiarised and used without the permission of you the artist. It also protect your artworks from being miss used or usage outside the time what was negotiated in the Commission acceptance agreement.
So how does copyright effect me?
It does a lot, as a student I have no legal help from agency which represent me, like the AOI, so any work that goes on the internet could be targeted and I may not have a leg to stand on.
There is a few things i can think of to try and prevent people from copying my works.
Watermarks
This is a very easy way to protect the images you put on the web and blogs. This is where you place a layer over the top containing a copyright logo, names and any other additional information. This watermark is normally slithy opaque so containing lines to the corners. This allow the image to be seen easily but makes it pretty impossible for someone else to claim its theres. There is one major problem with this method which is that it make you artwork look shit as the image can be completely blocked by these watermarks and can ruin the viewing of the artwork.
Copyright logos
If copyright logos are present on your site and not necessarily on the work itself, this could be enough of a deterrent as it shows that you understand copyright law. But this does not stop anyone from right clicking and pressing 'copy' or 'save as' so this is more of a warning which is good but offers little protection.
Disable right-click
On some artists websites, the ability to right click has been disabled over image to prevent the option to 'copy' or 'save as'. This is such a good way to protect you work and maintain the artwork in it original form. But unless you understand web coding, doing this can be confusing. I tried to do this disabling by following a tutorial online and i couldn't get it to work. The other thing is it does not stop someone from printing screen and getting your image that way but this is quite a lot of hassle for poor quality images.
Reflection
Out of these, I think that including a copyright logo somewhere on your page is a good idea as its easy to do and it may deter some. But i think that the disabling of the right click is the best thing possible, it does protect you images and a lot people will have to do back to your site rather than taking a copy, increasing views and interest around yourself. All thats left to do is ....
....to figure it out.
Tuesday, 7 February 2012
Online Portfolios
Here is some online portfolios.
The AOI
- The AOI is one of the biggest portfolio websites.
- The standard online portfolio costs £93.95 for non-AOI members.
- They allow you to have up to 20 images or animations.
- The major disadvantage is that, there is a very large amount of portfolios on the site and yours may not stand out or be seen in the mass of artists.
Carbonmade
- This is another portfolio site which has 436,369 as i am writing this.
- Different to the AOI, on Carbonmade you can get a free portfolio which allows you to upload 35 images compared to that of AOI's 20.
- By paying $12 a month you can upload 500 images and 10 videos.
- The face that there is a free option is good for professional illustrators starting out like myself, but the problem that may occur with this is that the quality of the work on the site is not monitor and non professional work may flood the site. This can make you harder to find through the large number of members and you could be putting your work into a place with a poor reputation for artwork.
These two portfolio websites differ greatly. The AOI seems to be more professional than what Carbonmade is offering but I feel the Carbonmade portfolio is a good place to start and set up you first portfolio. I think the AOI is for artist that have had some success and becoming more established and can afford the bill.
The locations are different. The AOI is based in London, Where Carbonmade is based is New York. I think that the views of Carbonmade maybe mainly an American audience, where i think the AOI would be more global as it is an established name in the field of illustration.
Sunday, 22 January 2012
Questions to Phillip Harris
- How did you get your agent? Since having an agent, has anything changed?
I got my agent through sending out emails asking various agencies if they would be interested in representing me. I included some examples of my work in the emails and also some links to my website and blog. To be completely honest I have had 2 agents and both of them have got me little to no work. Not sure if I have just got stuck with ones that aren't very motivated but I have heard a few illustrator's mention that they have had similar problems in the past.
- Have you got much work since you left uni? How did you find it?
I have had a few jobs but not enough to use illustration to support myself. Most of my work has come from emailing people or companies to ask if they would be interested in any of my work. Some of the commissions have come randomly through people stumbling across my website or chatting to people when I'm out and about.
- Is there anything I could do now to help me in the future?
So I terms of things to do now to help in the future, I guess the best advice I can give is try and build up a web of contacts though self promotion.
Reflection
I know that Phillip Harris is currently with Inky illustrations which is a illustration agency that I have looked into within this unit. That agency seemed the best for me out of the ones i looked into.
He does have a second job and that is a tattoo apprentice working, i believe, 5 days a week. There is alot of money in tattoos and art surrounding that area of art. This is a path that i wouldn't mind heading down if illustration does not pay off.
From both the first and the second questions, I get the same idea that finding a agency that works for you is all about trail and error till you find one. As Phillip says he has had to agencies and got little work from possibly a unmotivated agency. He goes on to say in his second answer about commissions that he has found work of his own back by emailing people and companies asking for work and getting interest around the artworks. Again, Similar to Jack, he says that he has got work from having talked to people and making contacts. He also mentions the website and that getting him work. I need to get my blog up and running properly which will help me to get my name out there and also work.
The third answer carries this on, he says it is important to self promote yourself through the web and blogs. I want to use my blog to collect contacts and get my work and name out there. I would also like to do the sending on post cards to some companies just to get my work known. I will do this before the end of the summer to get my name out there. The main theme and idea i get is self promotion is vital and should always be kept on top of to be successful.
Questions to Jack Teagle
I make a lot more from commissions, they're bigger jobs, and you're only putting money into materials like paints, instead of production costs and prints. The online shop is worth doing though, sometimes you'll have slow weeks, and shop sales can help to keep you going.
Getting in touch with people in the industry is a good start. Get to know other students at other universities and across the world, use the internet to share your work and ideas. This is where I started, and as a result, I've been able to meet other artists I spoke to online, take part in exhibitions, and in some cases it got me jobs. The best thing you can do is to work your hardest and have fun with it.
Reflection
As you can see from the first answer, Jack Teagle is with he illustration agency YCN. He says that the commission % is rather high at 30%. It is not an agency i have looked into but i definitely will in the future.
I don't think Jack Teagle has a another job other than illustration. When he started out he did get job seekers allowance but now can support himself thought his illustrations and is doing quite well.
Reflection
As you can see from the first answer, Jack Teagle is with he illustration agency YCN. He says that the commission % is rather high at 30%. It is not an agency i have looked into but i definitely will in the future.
I don't think Jack Teagle has a another job other than illustration. When he started out he did get job seekers allowance but now can support himself thought his illustrations and is doing quite well.
From the answer to the first question, It seem that the relationship and your approach to your agency is vital to getting work regularly. Also it seems like there is a great deal of trial and error at the start when finding a agency that works for you. It seems many people move from one agency to another before settling at one.
I would like to try and act on what Jack has said in his last answer about getting hold of people. I want to start getting in contact with other people with the industry. I want to get my blog properly up and running and use that as a way to meet people. I will try definitely over the summer to contact some people as I'm quite busy and the blog is bait thin on the ground.
Illustration Agencies
Inky illustration agency
Inky illustration is an agency that is based in London and has links with –
· BBC
· Disney
· Hallmark
· MTV
· Nickelodeon
· The Guardian
· Daily Mail
and many more.
This agency would help me, as I want to work for Disney within my career at some point. There also seems to be a great possibility of editorials with this agency.
The style within the agency is mainly hand rendered and digital artwork, but the digital piece has the sense of hand rendered work. There is a great detail of portraits and also figurative works. I could see my work being within this agency as I produce the majority of my work is hand rendered and I try and get a realistic feel which is seem in most of the works within the agency.
Contact
Address
Office 2834
PO BOX 6945
London
W1A 6US
United Kingdom
Phone number
0844 8129 796
Website
http://www.inkyillustration.com/
Central Illustration Agency
The work within the agency is mainly digital and not a great variation. This illustration agency seems very well established as it has a large number of artists including 12foot6, which I a large animation company. They list their artists as Typography, Motion and Interactive, and I feel this shows that, at this moment in time, this agency may not be for me. The agency is based in London.
Contact
Address
29 Heddon Street
1st. Floor
London W1B 4BL
Phone number
+44(0)207 734 7187
Website
http://www.centralillustration.com/
Illustration
The illustration agency has a very large range of different style and artists and there seems to have a place for any illustrator. But I think that the work maybe of a lesser quality compare to work I have seen on other agencies. Due to the large variety of work and style this could be an agency that is more likely to take artist on.
A real upside to this agency is that it is not based in one place alone, as there are offices within the UK, New York, Paris, Hamburg and Shanghai. This gives the opportunity to work abroad and get international contracts. Personally I want to travel and work in different countries within my career as an illustrator. This is one of the only international agencies I have come across.
Contact
Address
Illustration Ltd 2
Brooks Court
Cringle Street
London SW8 5BX
Phone number
+44 (0)20 7720 5202
Website
http://www.illustrationweb.com/
Heart
This illustration agency seems to have mainly hand rendered elements combined with the use of digital elements. I don’t think, at this time, my work would really fit within the agency. The work looks to be more graphic than illustration. The agency is based in to countries, in London and also New York. Again I like the idea of travelling within my career.
Contact
Address
Heart Top Floor
100 De Beauvoir Road
London
N1 4EN
Phone number
020 7254 5558
Website
http://www.heartagency.com/
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