DD2000, Design Practice.

Design Practice; Investigation into design activities related tot he invention planning and design problem solving. Design Practice focuses on people and process across a range of design disciplines and the concept of multi-disciplinary design. 
 - Review the lectures of TWO practitioners who will deliver visiting lectures to you this year. (600 words)

Fig Taylor

Fig Taylor is the Portfolio Consultant for the Assossciation of Illustrators and author of 'How to Create a Portfolio and Get Hired'. Fig Taylor visited my university yesterday to talk to us about embarking on an illustration career and how best to put together an effective, professional portfolio. She started her talk by helping us understand about the clients and commissions. She explained how clients in UK particularly are spoilt for choice when it comes to selecting an illustrator due to the fact that there are more illustrators than there are jobs available, which allows clients to choose what and who they want. However, she elaborated on the difference between illustration in the UK and Australia, due to the fact that there are more jobs available than illustrators in Australia. Therefore it allows the illustrator more creative freedom and the clients are used to taking risk, whereas a client in the UK will refer to a reliable illustrator to avoid mistakes.

She also touched upon personal style, and explained from personal experience, that an illustrator cannot commit to many styles, not only will it confuse and mislead the client of what your best ability is, but it becomes hard to classify one strong style and you may waste their time. I found Fig Taylor's talk was really helpful when she told us to aspire towards the styles and aspects of our own illustration that is the strongest. She told us to be honest with ourselves, focus on our strengths and the best of our ability and leave the other aspects that were not so good at to other people. This was beneifical to me because I feel I haven't found a personal style yet, however by focussing on the aspects I enjoy and my strengths, I hope I eventually find my own style. 

From experience, Fig provided an insight into what to expect when meeting with a client for the first time. She firstly explained how very little time is provided for you to make a good impression, and it doesn't matter if you have big internet presence, you should make an impression in person. She also touched upon her understanding of clients and explained the reasoning behind some of their actions. For example, some clients are very responsive when looking through a portfolio, however other client's like to think how your work can help them and whether your style can fit in to a job they have available. It's very important to explore everything in your style, due to the fact that the client will judge you based entirely by your portfolio. Also only approach a client that you can see your illustration working with, compare your style to previous illustrations they've used. 

Fig also gave us helpful tips regarding portfolios, such as what to include and how to organise and display the work. She firstly explained how during university, your surrounded by people who can give you feedback on anything you do, however when you graduate you're then on your own, and in order to make decisions, you have to become your own tutor, and question your work and be honest. 

As for work within your portfolio, Fig provided some tips of what not to include in your portfolio; firstly if there's any piece of work you hate, take it out because it's personally weak. She told us to have faith in our work, and if were not at least 87% happy with a piece of work, then remove it from your portfolio. Any work that is experimental or is incomplete and life drawings/personal sketches should also be removed. All work included in the portfolio should be illustration, not mainly graphic design, otherwise it will confuse clients. She also mentioned that ancient work should be removed because it will drag the overall standard of the portfolio down. The tip that I found most useful was when Fig explained not to include any work that cannot physically be repeated. If a piece of work takes to long to create, then either find a faster way of working, or remove that aspect. Also if a piece of work is created through different techniques or by specialised equipment, you need access to that equipment otherwise remove it from your portfolio. 

The portoflio size should either be A3/A4 and light and portable, due to the fact that you have to carry the portfolio around and the industry only provides small desk space, therefore doesn't have room for large portfolios. 

Fig explained that content is a key word. So in your portfolio you should be including work that is professionally relatable to what the client will expect. If a client asks 'what do you like doing?' just be honest and have a straight answer, because a client will be confident in an illustrator who knows what they want. Be open to compromise; be realistic to which the client will be responsive. Your portfolio should be a representative of who you are. 

Fig Taylor also described how to display your work within your print portfolio. She started by explaining that it doesn't matter what you mount your work on, as long as it compliments your work, and isn't too heavy or thick for the portfolio sleeve. Large scale and delicate work should be photographed professionally and mounted. She explained that different portfolios can be used to collect relevant work together, and you should group either the same media/subject matter/style or vibe together to make the portfolio flow. 

Fig also provided tips if you'd prefer a digital portfolio to a print portfolio. She explained that you should only show an amount of work due to the small amount of time you have with the client, however with a digital portfolio you can have a range of different work available if you are asked to elaborate on a particular style or image. However you have to make sure that the images are set at a good resolution, one that you can clearly see the image, but not so big that it takes too long to load. You have to be completely self-sufficient. For example; charging your laptop/ipad, providing your own memory sticks, providing your own internet for access to your blog/website. As for pieces of work you want to include, there is no magic number.

Fig Taylor finished her talk by touching upon helpful tips within the industry. She firstly explained there is a hierarchy within the industry, and the clients that are paying less money are the ones willing to take more risk. She was mainly talking about commissionsers and practitioners working in magazine and book publishing, design, advertising and TV/film and how there are different working methods within each category, for example, working for a magazine has no middle man to interfer where an idea for an advertisement has to be passed through the client first. Fig also mentioned by doing research into different magazines, you'll be able to pick up illustrations that are similiar to your own, and by targeting a not so popular magazine or newspaper, you have more of a chance, without waiting in a queue. Fig also told us to contact clients who we like and who may like us, not through email but by writing a letter, because it's more personal.

Overall I found Fig's talk very useful, not only did I learn helpful tips for displaying my work, but I also feel I have a better understanding of the client I may be involved with and what there looking for. 

Word Count - 1,260 words. Oops! :)