Roman inspired mural
Twinkle Twinkle Little Star mural
Zizzi Ristorante commission James Grover to create two murals for a refurbishment of their Colchester restaurant.
The first of the murals was inspired by Roman pottery and mosaics, James immersed himself in the history of Colchester (or Camulodunum as it was known in Roman times) to make this gorgeous decorative piece. The second appears on the stairway at the restaurant, a star in the night sky with “Twinkle, Twinkle, Little Star” written around the edge of a diamond – originally written as “The Star” by English poet and former Colchester resident, Jane Taylor. Both works of art were painted using acrylic paint pens and emulsion, and surely transform the interior from restaurant to gallery!
spreads from the ‘Someone to Watch Over You’ feature
February’s issue of Creative Review is an Illustration Special!
Our Senior Agent Victoria Pearce took part in a round table discussion along with three other Illustrator’s agents resulting in a five page article entitled “Someone To Watch Over You”. Covering topics such as the state of the industry, how illustrators can develop their career and what agents look for in new talent, the pages also show work from Judith Van Den Hoek, Jacqueline Bissett and Chrissy Lau. Chris Gilleard & Nuno DaCosta are also mentioned in the feature. See the Creative Review blog for more…
Montana Forbes completes a set of horoscopes for IKON images.
The three here; Sagittarius, Pisces and Gemini are just a taster of the beauties Montana has created for the company who primarily deal with stock imagery. Montana says “I’ve always had a keen interest in the horoscopes and was really excited to tackle the subject matter for the very first time. After much research, I was inspired to create unique fashion and beauty portraits that incorporated elements and characteristics associated with each sign but without them being clichéd depictions.” See all twelve in Montana’s portfolio.
|logo for Little Owl Urns|
|ad for Rockwood and Perry|
Kathryn Rathke completes two beautiful owl commissions using her confident and stylish line.
Custom-designed urns maker ‘Little Owl Urns‘ asked Kathryn to create a logo for the bottom of their ceramic and wooden pots; made for beloved pets. The second was for the wine merchant Rookwood and Perry in the Hudson River Valley to use as an advertisement for their shop. With the image of the nocturnal bird being used quite widely right now, Kathryn says “Owls are in the air!”
Fashion illustrator Gustabo is asked to create a contemporary face and persona for Bar Nana.
The exclusive lounge and restaurant located in the meat packing district of New York, takes its name from the French Nana made famous by the novelist Emile Zola and director Jean Renoir. Gustabo has used his sophisticated style to illustrate the iconic female, which is being used by the celebrity, model and fashion insider’s ‘hang out’.
Bill Greenhead‘s latest whiteboard animation is a music video for Free Swim.
The group asked Bill to make a video for their latest rock track “Trans-Atlantic Tumnus”, and of course Bill jumped at the opportunity. He says ” The track gave me a chance to try out lots of new techniques in whiteboard art. I wanted to be able to place static objects and for them to spring into life. Lots of 3d animation with UFOs and robots. It’s a fun track to animate.” Watch the animation.
The London Transport Museum have been using Anne Wilson‘s city inspired image to advertise the lead up to the Serco Prize for illustration 2014.
The theme for this year’s competition is ‘London Stories’ with the winners announced mid February and the start of the exhibition based on the theme. Anne will also be running a workshop at the exhibition in the Transport Museum on the evening of the 14th February as part of the opening, which will include “a bar and DJ and storytelling for adults on board some of the heritage vehicles; a chance to illustrate your own London Story with short illustration workshops, and to strike a pose in a photo-booth with a choice of props”. See the AOI website for more information.
This fabulous label creation from Gail Armstrong is a personal project done as a “thank you” for some friends.
After a holiday last summer in Zanjice – a fairly cut-off part of Montenegro, Gail discovered that all the olives from the area were gathered from everyone’s property at the end of the season and sent to the community press to be made into olive oil. She says “ However, the hand-written labelling left much to be desired, so as a “thank you” I created these olive oil labels. The paper sculpture scene is the view across the swimming pool of one of the landmark villas in the area and the ribbon flourish has a blank area where the date of pressing can be written.”
Vicky Scott uses her skills to create this positive image for Top Sante Magazine.
Asked to create two illustrations for their February issue, Vicky says “The illustrations accompany the article ‘New Year No Fear’, about gaining confidence and self-belief; a perfect brief for my colourful and uplifting designs.”
|horoscopes lead page|
German Fashion magazine ‘Cover’ commission Lucia Emanuela Curzi for several editorial illustrations.
Appearing in the January Issue, Lucia’s artworks for their horoscopes delight the pages. She also tackles an article on how to deal with and move on from an ex-boyfriend if you are still connected via social media. Featured on the contributors page too, Lucia certainly makes her mark on this edition!
Nina Hunter creates a gift illustration for sound experts Bose.
Used globally, the artwork made of ornate swirls was to have the ability to be pulled apart with elements used separately if needed. Nina says of the commission “I was thrilled to be approached by a company such as BOSE. It was an exciting project and I hope I will have a chance to work with them again sometime in the future.”
Director of Illustration Ltd Harry Lyon-Smith gives an interview to the SAA Hub News providing an insight into one of the most successful illustration agencies…
Please give a short summary of your company history and provide a bit of information about yourself and how you got into the business?
The agency was started in 1929 by a lady by the name of Katherine Boland, and it was called the Katherine Boland Studio. She ran it with her sister until 1970 when John Havergal bought it on their retirement. He changed the name to The Garden Studio, reflecting its location in Covent Garden, London. 15 years later after various experiments into publishing and greetings cards, John found that it was the agency part that was most enjoyable and rewarding.
It’s in 1985 that I found myself delivering portfolios to him as a motorcycle courier aged 20. I was paying off some college debts, and found myself quite regularly at John’s door. An acquaintance evolved, which developed into a friendship and a job offer to join him as a trainee agent. (Train me he did, his professionalism and duty to our artists being very much alive in the agency 30 years on.) A decade or so later he invited me to be a junior partner, and a few years after that he retired and we made arrangements for the business to carry on.
inside the office on Albert Embankment
How would you describe your day-to-day role as an illustrators’ agent? (i.e. finding work, finding new clients, serving regular clients, managing accounts, scheduling artists time)
The agency has evolved into a more plural operation than the 1 man band it once was and it is what we do as a team that answers this question. On the coal face, so to speak, there are 10 agents dotted around the globe who manage enquiries and jobs. Three are involved in the financial side of the operation, four handle marketing and promotion, and a further three vitally work with our artists and the agent team, keeping the portfolios looking great, managing new artists submissions and talent scouting.
What are the commercial advantages for artists represented by your agency?
Immediately anyone joins us, and their work is live on our site, they have a large international audience of commissioners. We have an expanding number of agents in new developing territories, and work comes in from all corners of the world. Our website has been around from very early days in the history of the web, and it has enabled us to keep principle positions on the google rankings.
We are a large agency by most measures and with that comes advantages. Such as the scale and range of the illustrators that we represent for the clients seeking top flight creative geniuses…it is rare that we can’t offer an option that is either bang on, or pretty damn close, or perhaps an exciting alternative that takes their creative to new places. This rewards the agency with loyal and regular customers enjoying very friendly, consistent and professional service from our artists and the agent team.
We have developed a payment system that gets everyone paid either all or a portion of the fees quite soon after invoice.
What other benefits can an artist gain from being represented by you? (i.e. Negotiating contracts, rights and usage licenses, support, time to work)
Our management systems ensures that as soon as a job is confirmed, the paper work is done and emailed to the artist and the client, with all the licences, fees, terms, deadlines etc clearly set out. The jobs are monitored and managed on a unique and efficient software, that we have been evolving for 2 decades. It connects to all the agents and gives us extraordinary flexibility to keep on top of jobs and help deliver clients top jobs, whilst alleviating pressure from the artists.
Furthermore, all the billing is automatically done when the job is finished, and a strict payment collection process is instigated….we hardly have artists chasing us for monies nowadays. If they do need the fee before it has been paid, we have an option that pays immediately if they wish.
What are the benefits of networking within the wider artistic community? (i.e. SAA Members, AOI & ProAction, events )
There are many good agents looking after the best interests of artists that they represent, and we admire them for their qualities…often with professional jealousies, that sharpens us up. However there are other agents that one hears who do not adhere to the standards that we have always held. The great thing about the SAA is that we know that the other members behave as per the constitution, and that is professional and fair. There are other agents who do as well, and we would like them to join the SAA to help develop our industry into a more influential and recognised barer of professional influence and practice.
Every Wednesday morning the team gathers and we review about a dozen or so of our artists portfolios, the jobs they have done, the marketing and promotion that we are doing, along with future plans. After this we have a good discussion with the artists, going through all the points raised, and sending a written report of it all. This we do 4 times a year with every artist on a formal setting, and of course a great deal more less formally in the throws of day to day business. Additionally we have regular meet ups, that we call ‘Face to faces”, that can either be in the office, by video conference or with a glass in hand…depending on location etc. It is all about enjoying spooling the artist’s and teams’ experiences that spark ideas and approaches that have client doors flying open.
What do you consider is the main role and responsibilities of the illustrators you represent to help you to build their career? (i.e. Flexibility, punctual with deadlines, importance of personal work to help develop an artist’s visual language etc)
A static portfolio will sooner or latter begin to fail any artist. We have seen this countless times and is probably without exception. So a continuously evolving portfolio has to be part of the essence of any illustrator’s career. Otherwise it is all about being a professional, delivering beyond expectation and utterly charming to work with. If you need any help with the last point (and we all do) read ‘How to Win Friends and Influence People’ by Dale Carnegie. Cheesey in title, but there is a reason it has been the top selling self help book for over 100 years. Everyone joining us in the office has to read it…it is law in our shop.
This interview can also be read on the SAA HUB News site.
‘Bob Robber and Dancing Jane‘; a children’s book illustrated by Bee Willey and written by Andrew Matthews is to stage as a ballet!
Produced by Clare Prenton, the story now evolved as ‘Shadow Thief’ is a thrilling development of the original book about the dark souled Bob Robber who learns to dance and live in the light with help from Dancing Jane. Bee says “Both myself and Andrew were delighted at the clip with the lyrics we were sent by Clare’s agent, and also by the twitter info around the rehearsals in Barnes, seemingly leading to a premiere in 2014 in Edinburgh! It is wonderful for a story like this to take off in a new context…”