When reflecting on my practice, where I think I could be going wrong is not embracing what I like about my work and how I like to work for fear of not fitting in with the masses or what is desired from me as a graduate / emerging illustration practitioner.
My previous catch up with John earlier this year has really stuck with me, as other than my dad (obviously a completely bias perspective), John is the only other person who has actually made me feel good about the diversity of my skillset and creative practice as a whole and helped me to see the potential for this way of working in industry.
I rarely initiate the discussion regarding the worries I have as it is drilled into me everyday just how much I don't fit in. This causes so many issues for me personally and professionally as guess what - after 10 years of learning and pursuing an illustration degree and dreaming of being "good enough" for industry - this whole process means a lot and I just want to get it right for myself - for once.
I don't see others on my course doing everything and anything, people aren't "brief led" - their considered and confident practice leads them and everyone seems pretty content in a specific direction within a particular industry context. This inevitably causes me to pile the pressure on to make a decision and progress in just one direction (instead of the many that motivate me) and the result is the same every-time - i get bored and want to branch out and try something new. Choosing and limiting myself can be really stifling. How do I chose a direction when I am passionate, invested and learned in so many different practical approaches and contextual interests?
- What I see around me: Pretty much everyone (peers, tutors, inspiring practitioners, creative hubs, businesses and so on) all have their set tone of voice and "style" locked down and seem to be content with the direction of their practice.
- What this says: Choosing a style, direction and tone of voice says confidence. That that practitioner is confident in their set practice, have been decisive in their decision making throughout their creative journey and have a go-to-way of approaching new briefs.
- The result: A recognisable aesthetic which clearly conveys who they are as a practitioner aligned directly with their chosen and confident skill set. easily marketable to the right clients for specifically aimed jobs.
I want this for myself (believe me I have tried endlessly to be this)- but is it possible? Am I asking too much of myself to conform to what others are doing and missing an opportunity?
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POLYMATH
- a person of wide knowledge or learning.
Key article
http://www.eyemagazine.com/feature/article/ambition-and-illustration
Illustration graduates must learn to become a polymath:
"It is the persuasive, informative and authorial power of applied illustration imagery, the strength and originality of its messages and its accessibility via global publication and broadcast media that defines its true reason for being.
The traditional five contexts of visual communication practice are knowledge exchange; commentary; fiction and creative expression; persuasion; and identity.
If new graduates are to enter the profession well prepared, they need an educational experience that encourages acquisition of specific, transferable skills that are not only practical, but intellectual and knowledge-based: the command of written and oral language, presentation and research. Such illustrators (and designers) need to be all-rounders, multidisciplinary, thirsty for knowledge. They need to be people of great and varied learning, with broad knowledge and skills. In other words, they must learn to become polymaths."
- Alan Male (my old tutor), Head of Falmouth University
Reflection and personal insight into practice:
Alan Male is my old head tutor at Falmouth University and his work and approach to illustration as a carefully considered practice has always inspired me. The Illustration course generally in Falmouth was traditional children's book illustration focused and whilst there I began to specialise in something a little different - paper engineering. I really enjoyed the potential for interaction and play to sit alongside narrative and I created some successful work whilst there.
I did however feel that the course wasn't really tailored for my media and skillset experimentation - more focused on learning the "fundamentals" as opposed to branching out and seeing what new innovative things we as students could achieve. Alan knows his stuff and to read this article and his thoughts on what Illustrators should be really surprised and inspired me.
Polymath generally suggests someone who has an expanse of knowledge through learning. How do you become a polymath - by being motivated to learn and then learn more - continuing to expand current skillsets. The result - a multidisciplinary creative with a broad range of carefully considered, explored and understood knowledge, methods of visual communication and skills.
Having enlightened myself with what a polymath is - I can definitely see how this aligns with my practice. I never stop seeking, learning, experimenting and growing my skill set. What has been displayed to me as a bit of a crux - a "jack of all trades" has benefitted me by broadening my potential as a practitioner and although I may not fit "into a box" for said agencies to successfully market me to clients with specific ideas in mind - I do not think that my diversity should be seen as a negative.
Thinking logically, if an illustrator has a set style or way of working and continues to produce work in a similar context within the industry - yes they may become very skilled in this area .... but this is only one area of many. The industry and trends are continuously fluid, in addition to our own creative changes and personal aims for what we want our practice to be Therefore what if your sole way of working is no longer desirable? Do practitioners, having established such a niche in their work, drop what is no longer wanted and then try and learn something brand new?
I guess what I am trying to say is that I see the value in being in a box....so people can market you, so clients can understand what you are about, so you can appear expert in your specific area and for ease of positioning yourself and career for potential for success.
However flipped on its head, I fail to see how a hardworking practitioner with a diverse skillset cannot achieve this also. Surely if everyone only saw what was in the box - ideas and creativity wouldn't progress? I.e if all clients wanting an illustrator for a children's book were only presented with children's book illustrators - then each would end up pretty similar. What if the client came across an illustrator who could paper engineer stories, bringing them to life and immersing the children through education, story telling and play - across various platforms ebooks, merch etc- the brief and project could adapt to take the form of something brand new and exciting.
Yes clients have a specific idea in mind when they come searching for an illustrator...and agencies need to be able to hand them what they need in order to fulfil their role....but I think everyone can relate to being too close to or set on an idea based on previous success or current trends or personal preference. Going for the same thing again and again keeps things the same - this is not innovation and can stagnate the market - therefore whats wrong with breaking the mould?
Going forward for me - i think....
Its all about how to deliver and communicate my practice. I consider myself skilled in many practical areas having pursued my passion for illustration and aligning myself with various areas of the industry for 10+ years now. As for the areas I am not so skilled in - I have a personal drive to make sure I will be. I want as many opportunities to grow and improve, to capitalise on all my strengths whilst being open to new possibilities - I DON'T want this to stop by being put in a box labelled "painter" or "digital artists" or "children's book illustrator" etc BUT I also don't want to confuse people and put them off working with me because of my diversity.
Final Thoughts
I think I just need to be cleaver about what work I show and to whom.
- Does this come in the form of multiple portfolios? Directed for purpose to minimise confusion?
- But then how to I split it up when skills are so transferable to me?
- To become skilled in an area of my practice I have worked and worked and worked at it until I am confident enough to take on live briefs and commissions - gain experience and be ready for industry...how is this any different from other graduating illustrators ready for industry being snapped up on agency rosters and put in boxes?
- The only difference being I don't want or need or fit in a box
- Is my practice an artists practice - where I create work in various creative "phases" through personal projects?
- The variety of my practice and 'lack' of a chosen set direction does not mean and shouldn't suggest that I haven't considered choosing a path in depth.
So maybe an agency isn't for me??
... Urgh its just so hard
