Pigeonhole.

What does the term 'pigeonhole' mean?

Pigeonhole refers to the act of "assign(ing) to a particular category, typically an overly restrictive one." - Google definition.

Within the design industry this often means to have a particular niche within your artistic style, whether it's through design or illustration, and although it is rather a restrictive aspect as a creative it by no means strips away the potential of success. Everything has a market.

EXAMPLES -

Tallulah Fontaine

 "Illustrator and zine maker currently based in Toronto, Canada."

Often depicts a female character with a familiar, white block face and neutral or somber expression. Her use of colour is always soft and pastel related - however her colour schemes do differ. As a whole the vibe, mood and style of each of her illustrations remain consistent and tend to always reflect the general female character which is evidently part of her niche.

Charlie Bowater

A UK based senior concept artist at Atomhawk Design.

Has a distinct, realistic painterly design despite using digital media to create her pieces. Always detailed and resemble surreal photographs. Subject matter is often fantasy based and more often than not the main focus is a female figure. Her niche evidently lies behind her realism and the focus on human (female) figures. 

Ruby ETC

"I am never without a scrunchie but often without a clue"

Is well known for her comics regarding mental health and all sorts of emotions. "I draw sad things in a funny way and vice versa." Has a distinct, almost scrawly style that appears very fluid and care free, may potentially even be considered childlike. Depicts the same character within each comic along with the same general themes. This is her particular niche.

Whilst considering the creatives within a certain niche there are also those who have a distinctive style yet choose to work across a varied range of themes and subjects, maintaining a middle ground within the industry and proving themselves to be flexible. There are even those who work in styles that aren't even their own but instead a mimic of another artist. This is referred to as ghost illustration and often leaves the creative with good experience but no credit.

"Do you want to be pigeonholed as a specific illustrator/designer?"

For me, personally, I firmly believe that I would be best suited to maintaining a middle ground approach. As both a designer and illustrator I find that I often experiment with styles and branch out but still manage to maintain somewhat of a niche in which my work always looks like my own - even when trying new methods or experimenting in general. I also like to apply myself to many different themes and genres to keep me on my toes and to allow me to try new and enjoyable things which may take my fancy. Although I truly admire those who pigeonhole themselves into specific categories I'm strongly under the impression that the restrictions would be too overwhelming and stump my creativity all together.

Collectives vs Agencies.

What is an agency?

An agency is 'a business or organization providing a particular service on behalf of another business, person or group.' - Google definition.

In the creative industry an agency works alongside a creative worker to help them negotiate the likes of fees, contracts and even rights. They also help to market and promote the artist(s) in their books (as they can represent more than one creative worker) and can provide guidance and management within the artist's career. In return they usually take an approx 30-40% cut from all commissioned work in return for their services.

Here is an example of an Illustration Agency.

Here is an example of a (branding/web design based) Graphic Design Agency.

What is a collective?

A collective is 'a cooperative enterprise.' - Google definition.

Essentially, in the creative industry, a collective becomes a group of creative workers, usually of the same type (e.g graphic designers, animators, illustrators) who work together on equal creative footing. Each individual is open to using their own, personal style but all work collaboratively with one another.

In the case of Graphic Designers, there is the aspect of working 'in-house' which is effectively the same as a collective ('done or existing within an organization' - Google definition) but can often mean working to a particular style rather than your own.

Here is an example of a Graphic Design Collective.

Here is an example of an Illustration Collective.

Here is an example of In-House Graphic Design.

Collectives/In-House vs. Agencies

The question remains: which is best and why? I personally believe the answer to this relies on the individual you're asking. Both in-house and agencies will have their pros and cons, some which come with what each has to offer whilst others will emerge with personal opinions.

PROS OF WORKING UNDER AN AGENCY:

• Creativity isn't restricted. The pieces and projects you work on usually only come in ones or two's so you can devote more time to them and make them prestigious final pieces for your portfolio.
• Essentially get's the work for you. Agencies can get you opportunities you may not be able to snag on your own.
• Effective way of figuring out pricing for your work. This does, however, come at a price and could be considered a downside also.

CONS OF WORKING UNDER AN AGENCY:

• Job insecurity. With regards to how many other artists work under your agency you may lose out certain job opportunities to the other creative workers your agency has. 
• They take a cut from your commissioned work. They do, after all, need payment for their services. Sometimes these cuts can be potentially harsh on lower paid jobs.
• Your agency represents you. This inherently depends on your personal opinion/views but having somebody else represent you can be a daunting aspect if you're wanting to show a potential client your best side.
• Lack of routine. Jobs can spring up on you via agencies and if you're hit with a last minute job you may have to pull a few unhealthy all-nighters in order to finish which can be a bit of a creative burn out.

PROS OF WORKING IN-HOUSE:

• Job security. Working under an established corporation, whether collective or in-house, gives you stability as you're working in partnership with the other creative workers. It's also more cost-effective for your employers to have you in-house or collective so there's less chance of being laid off.
• Company benefits. One downside to working for yourself of the loss of health insurance, disability claims and retirement plans. Not to mention if you should fall ill and can't complete a job. Working in-house or collective gives you the best of both worlds, allowing you to reap the benefits whilst maintaining your own individual, freelance style.
• Set hours. As you're working under a company you tend to have the standard rule of working 9 until 5 and there is little to no need for overtime unless you're reaching for a deadline. 
• Worthy pieces and projects. Working in-house or as a collective has the potential to bring in big brand jobs - making perfect and respectable pieces for your portfolio.

CONS OF WORKING IN-HOUSE:

• Restricted creativity. Although not always the case, in-house and collectives have a tendency to bring in less creative challenges which restrict the artist to more generic and stylized projects or pieces. There's also a chance that, when working in-house, you may have to work to a specific style, losing your originality.
• Limited range of products. This links in with restricted creativity and shows how working in-house or as a collective could potentially get a bit dull.
• Lack of flexibility. In-house and collectives often have a restrictive budget and a sense of restraint when it comes to branching out with new ideas and methods, something agencies tend to instead welcome.

As evident from the examples above, both areas of the creative industry have their respective pros and cons. However, there is no clear way to derive which is 'better' with regards to which area to apply yourself. This all depends on your personal opinion as a creative worker. For me, personally, each have appealing qualities that would make me consider working under each. However there are also qualities that make me want to stray away from both. That being said, if I had to choose, I would most likely opt for the in-house route as I feel I work better with routine. Both would be an experience and I think it's important to consider each as an opportunity.

SOURCES:

1. http://playgroundinc.com/blog/defining-creative-agencies/
2. http://www.sessions.edu/notes-on-design/in-house-vs-agency
3. http://www.fonttalent.com/about-us/blog/articletype/articleview/articleid/214/agency-vs-in-house-which-is-the-better-place-for-your-career#.VwJ_X_krKM8

Creative Cultures.

What is a 'Creative Culture'?

"A creative culture is one in which people are able to be effectively creative." - Source.

This often means that a creative culture is, in fact, a particular country, county, or region which has an impressionable and strong reputation for their place within the creative industry, whether they have a creative expertise or merely a large number of placements for work. These types of areas in particular are perceived to be almost always metropolitan areas or capital cities (such as New York, Japan or London) but in some cases creative cultures can expand and flourish within lesser known areas such as small towns or cities (such as Sunderland, Newcastle or even Hartlepool). One key element to a creative culture is the potential resources within the area it has established.

How does a 'Creative Culture' develop?

As with any development there are several elements which often play a part in it's initial set up and, for creative cultures, one of the most common lies behind there already being an established industry in the area - allowing other professionals within the creative industry to flock to it. On lesser occasions, creative cultures may begin to establish themselves where the expenses for things such as living costs (rent and overhead) are fairly cheap, giving them an opportunity to base themselves somewhere and work fairly well without having to scrape by, This, of course, also has its setbacks.

Established Industries -

In a specific location the likes of a developing and pre-existing industry can allow creative cultures to thrive and grow, making it a base point for many creatives to seek out within their career. Although this often results in success, moving to a particular creative culture doesn't always ensure this factor - it merely breeds potential. For example, London in particular is a creative culture that holds a wide variety of commercial industries, perfect for a graphic designer. These commercial industries can be anything from pop-up shops to national companies and even global corporations. With all of these based in London, it becomes understandable as to why it is considered a creative culture, and it is more than evident that it hosts plenty of client based opportunities. It also means that there is already an existing creative industry within that specific location, allowing you to mix with other creatives that bare the same profession as you - this gives plenty of opportunity for new contacts, collaborative work ad even inspiration and influences.

Established industries also have other appealing factors for creative cultures other than their massive creative bases. In the case of London, one of the cities main features is its composite transport connections which allows access to every corner of the city. Well established cities that host creative industries are also often plentiful in the likes of creative resources (such as printing or publishing companies) making it easier for creatives to output their work effectively.

Moving to or closer to a creative culture network such as London can be an effective choice within your career, however, it is important to be mindful that both accommodation, living facilities and studio spaces come at an eye watering price tag which is often too high for many new creatives. This is often due to the large, competitive demand of the pre-exising creatives who have already made their bases within this creative culture and it is these types of setbacks that may cause a creative culture to uproot and shift.

Undeveloped or newly developed areas -

On the other end of the spectrum, creative cultures may also branch out and establish themselves within more lesser known or undeveloped areas. Undeveloped, of course, referring to a lack of creative competitors - meaning it has plenty of potential employment and client opportunities and will often be cheaper than areas which are more developed. Examples of undeveloped areas fall onto the likes of Sunderland, Newcastle or perhaps Hartlepool. Newcastle in particular is a strong example of the potential undeveloped areas hold for creative cultures as it is a city which already holds secure corporations which have the potential to become creative clients for those in the area and it is also known that renting or buying a space in Newcastle, whether for living or studio purposes, poses much cheaper than trying to make space for yourself down in the likes of London.

Despite having smaller portions of it viewed as individual creative cultures, it could be perceived that as a whole the UK is, in fact, one large creative culture in itself as it is home to the second largest creative industry in the world.

SOURCES:

1. http://www.telegraph.co.uk/finance/property/property-market/10564090/Britains-best-places-to-live-for-artists.html
2. http://www.dailymail.co.uk/travel/article-2262893/Englands-best-cultural-cities-From-Newcastle-Portsmouth-iconic-metropolises-offer-visitors-host-treats.html

Creative CV's.

What is a CV?

The term 'CV' is short for 'Curriculum Vitae' and is "a short account of one's career and qualifications prepared typically by an applicant for a position." - Source.

What is a creative CV?

A creative CV is merely your standard curriculum vitae but with a creative twist, making it more aesthetically pleasing to look at. These types of CV's are more common in creative workers and are typically used to showcase the applicants creative style and skill to their potential employer.

EXAMPLES:

Graphic Design CV - Shows how a student can depict personal branding & self promotion into their CV whilst still maintaining a sense of professionalism in applying for jobs. (SOURCE)

Graphic Design CV - Shows how a CV can still be simplistic but effective with bold usage of colour and icons. (SOURCE)

Graphic Design CV - Another example of how a simplistic design can still be eye catching through use of colour, icons and layout. (SOURCE)

Illustration CV - Depicts both skill and style and gives the employer a sense of who the applicant is through  quirky & hand-drawn self portrait. (SOURCE)

Illustration CV - All hand-drawn and hand-lettered, shows that it doesn't always have to be digital and traditional media works just as well. (SOURCE)

Writing/Designing your CV:

Your CV is an important opportunity to market and sell yourself to a potential employer and applying for jobs within the creative industry means your CV could very well land on the desk of the employer who could give you the job rather than running through the hands of staff who shortlist the applications like in other industries. This means you essentially have seconds to not only stand out but impress.

It's important to acknowledge that when writing your CV it's down to you what you deem important to put in and leave out (other than the standard basics which are required) but it's vital that you reflect your own individual personality, creative flare, and your passion for the position you're applying for. Your employer needs a good sense of who you are before they hire you.

Developing several CV templates is an important start when applying for different positions as you should tailor yourself to each job specifically. For example as a student I find I personally dabble in both illustrative styles and more graphic, digital based styles. Both areas interest me and therefore I would apply for jobs in each. Since this is the case I would therefore have to develop one CV that caters to my more illustrative style should I wish to apply for somewhere illustration based and the other to a more graphic based standard should I opt for that route - the information would, of course, be the same to some degree but instead I'm showing my employer my appropriate style, skill and creative flare through two different CV's.

Before you develop and branch out your CV to cater to the different areas you potentially want to work in you first have to start with your base CV which contains all the facts and details about yourself, your education and past employment, your skills, and basically why the employer should hire you. When writing your base CV always be honest and positive - meaning don't oversell yourself but don't undersell yourself either. Connecting your experiences to the role you're applying for also shows you have knowledge and potential to your employer, which means you also have to research who you're targeting so you can cater what you're writing to them. Don't have a one size fits all CV.

Headers for your CV:

• Your name and contact details (address, phone number, or e-mail).
• Your personal profile (Keep it concise, punchy and positive - make your employer remember you).
• Qualifications (Most relevant first alongside where you studied).
• Interests (Only ones that are relevant to the work or position you're applying for. Your employer doesn't typically care if you like going to the cinema with friends unless it directly influences your work or the role you want).

What will employers be looking for in a CV?

• Basic information such as who you are and where you live and how you can be contacted.
• What you, as a creative worker, can do and provide for them as well as what fresh, new ideas you can bring to the table.
• Past experience and current skills that are relevant to the position you're applying for.
• Apparent evidence that you want to work for this particular employer and you're not just looking for work in general (this is where employer research steps in)

SOURCES:

1. http://bashooka.com/inspiration/creative-cv-resume-designs-inspiration-2014/

Marketing Plan.

What is a marketing plan?

A marketing plan is a comprehensive blueprint which outlines a organization's overall marketing efforts (Wikipedia)

Essentially a marketing plan sets out how you are going to put you marketing 'strategy' into physical practice and ensures that everyone within your creative business (if not freelance) understands your goal and their role in helping to achieve it.

What is a business strategy?

A business strategy is the means by which you set out to achieve your business objectives.

A business strategy often includes:

• What your business is about (your business 'mission')
• Your key business objectives which you desire to achieve
• Your broad strategy for physically achieving those objectives

PEST and SWOT

What is PEST Analysis?

A PEST analysis is a business measurement tool that is also an acronym for the different factors used to assess the market for a business or organizational unit:

• Political and legal changes (such as new regulations)
• Economic factors (such as interest rates, exchange rates and consumer confidence)
• Social factors (such as changing attitudes and lifestyles and the aging population)
• Technological factors (such as new materials and growing use of the internet)

What is a SWOT analysis?

A SWOT analysis, also another acronym, is a structured planning method that evaluates these four basic elements of a project or business venture:

• Strengths
• Weaknesses
• Opportunities
• Threats

A SWOT analysis can be carried out for anything with regards to products, places, industries, or people.

Marketing Objectives

What are Marketing Objectives?

Marketing objectives are business goals set when promoting the likes of products or services to potential consumers/clients. These particular objectives should be achieved within an appropriate time frame.

Your objectives themselves should always be SMART:

• Specific
• Measurable
• Achievable
• Realistic
• Time-Bound

Once deciding upon your marketing objectives and setting the basis for your overall marketing plan it is important to then create a strategy for meeting them. Having this particular aspect planned out will help ensure you make your objectives are met and your plan becomes a reality.

Your marketing plan alone should do much more than just say what you want to achieve - it is essential that it also includes how you are going to achieve. A schedule of key tasks will not only set out in detail what will be done and when but it will also keep you on track and at a steady pace. Without such a schedule it becomes easy to dismiss certain tasks and risk your success. When writing a marketing plan you should always:

• Set clear, realistic and measurable targets
• Include details such as deadlines for meeting particular targets (to make sure you don't fall behind)
• Provide a budget for each marketing activity

Potential marketing strategies for freelancing creative workers:

1. Consider your audience. All of your communication must be directed towards your intended audience to ensure the effort you're putting in to reaching out to potential clients does not fall on deaf ears. To ensure this it's important to do up to date research of your audience and potential clients and maintain a list.
2. Contact Databases. These types of databases offer you potential clients and customers withou the research on your behalf but at a price. They can be useful but expensive and may not be a realistic option for newly graduated creative workers or those just starting out. They are, however, something to consider within a more stable future.
3. General research. Doing regular research on things such as industry developments and who is working where allows you to gain a vast knowledge of industry trends and broaden your client list. It can seem tedious and dull but in the long run doing your research is always worth it further down the line.
4. Mail shots. Printed promotional material such as postcards, business cards, brochures, stickers, pins, or any other general little freebie that fits in an envelope or packet and is your own work is a great way for branching out and giving potential clients a piece of what you have to offer for them to keep or even pass on - gaining you a wider audience. It also depicts you as a social and approachable creative worker.
5. E-mailing. Sending an e-mail with a link to your online portfolio or website is a simple yet effective way to promote yourself and again reflects you as a sociable worker within the creative industry - it's also a good way to get into contact with others. And remember, links are more polite than attachments as it gives your recipient their own choice to click the links or move on to the next e-mail.

SOURCES:

1. http://www.businessballs.com/pestanalysisfreetemplate.htm
2. https://en.wikipedia.org/wiki/SWOT_analysis

The Elevator Pitch.

What is an 'Elevator Pitch'?

ELEVATOR PITCH
                          noun:

a succinct and persuasive sales pitch - Google definition.

Usually on the spot, fast paced and punchy, and always to the point. Regarded as an increasingly effective way of describing and pitching your idea to an audience.

EXAMPLE:

Pros and cons of an elevator pitch:

PROS -

• Projective form of communication
• Straight to the point
• Gives your ideas flare and personality
• Engaging to the audience
• Shows confidence
• Gives stats and facts without being dull
• Memorable

CONS -

• Less formal
• Quick speech could be difficult to understand
• May only work on certain ideas

In its entirety the elevator pitch, despite its pros and cons, is an effective and crucial part within the design industry as it allows a creative to sell their idea quickly and confidently to a potential client or company. Often within this industry you have mere seconds to impress and as time is money, the elevator pitch is the appropriate way forward.

Graphic design elevator pitch (group task) -

Toni: Sick of carrying loads of exuipment around on a daily basis?

Brogan: Why not invest in our Graphic Gadget. Our small, compact, pocket-sized, all in one graphics essential. This product comes with several basic elements such as; a finer liner, drawing pencil, ruler, rubber, pencil sharpener, memory stick and a digital clock.

Helen: With additional space to clip extra supplies in that suits you, we offer additional extras including glue sticks, scissors, tape, scalpel, biro pens and permanent markets, each sold separately. Items are detachable and can be replaced.

Kurtis: Market research states that there is nothing in the market like out product. Based on buying high quality equipment separately, overall our product can save you up to £20.00. Our cost effective gadget will guarantee to save you money.

Ben: So, at the low price of £14.99 you will receive our high quality, basic kit which then you can customise and add to for your own needs, from the cost of £1.49 for any extra attachments.

David: So, you will always be ready steady Graphics.

Paul Rand Case Study.

Paul Rand was both an American art director and Graphic Designer who is primarily known for taking the creative industry by storm with his corporate logo designs.

Born in Brooklyn in 1914 it is remarked that Rand was an incredibly creative being from a young age, partaking in many creative deeds as a daily hobby and always perceived as practicing and furthering his talent and skill. His very first taste of working in the design field of work came when he was tasked with painting the signs for his father's grocery store and for school events - minor projects which lead to a big impact on his creative future.

It was at Pratt Institute in Manhattan that Rand studied art until being offered one of his first 'official' jobs: laying out product spreads for Apparel Arts (a popular men's fashion magazine owned by Esquire). This particular job later led to him designing magazine covers where he was naturally noticed for his particular flare in design work. By his early 20's Rand grew to be considered one of the most important designers of his generation.

One distinct detail which is interesting to acknowledge with regards to Rand and his work is the perception that he was ultimately one of the first American commercial artists to look to Europe for inspiration and not only embrace but physically practice the Swiss style of graphic design. This particular element of inspiration which began to become more present within his work initially began when Rand was a student and he developed a specific intrigue with commercial art journals from both Britain and Germany (which often featured innovative pieces by graphic designers such as A.M Cassandre). and it was observed that he also became an avid fan of the Swiss expressionist Paul Klee.With these fresh, new influences Rand lapped up the likes of Swiss typographic theory and Bahaus modernist thinking (on form and function) and began to reflect them within his own evolving design work which was beginning to use and combine collage, montage, hand-lettering, drawing and even photography.

At the time Rand was truly beginning his creative career it is often perceived that American advertising was at a stand still and very much still stuck in the 19th century - especially with regards to how the advertisements themselves were printed and produced. To put it bluntly: Creativity was lacking. That was, at least, until Rand was named chief art director of the newly formed advertising agency William H. Weintraub & Co. in 1941 at the age of just 27. Undeniably Rand had a vastly different approach to the job itself and brought the striking graphic work of Europe to his very own page designs - deeming that an advertisement's effectiveness relied on how the visual and the text aspects reacted on the canvas and merged together as one. It was during this period of his work in which he introduced an essential new ingredient into commercial art: form. And above all, his advertisements in particular were always bold, witty, and full of character. Rand was bringing the act of art into advertisement.

It cannot be denied that Rand aided a vital shift in creative power (from copywriters to art directors) across the industry. He laid the ground work for the 'Creative Revolution' of the 1960's and brought fresh ideas and outlooks to advertisement that no other creative worker thought to seek out.

1947 saw the arrival of Rand's first published book: Thoughts on Design, which continues to be influential even in contemporary times as it breaches the relationship between the visual appearance of something and it's physical use. Rand's argument was that a good piece of commercial art had be not only be beautiful but persuasive - an interesting concept within itself.

Onwards from here Rand's reputation continued to flourish at a steady pace and his past experiences considered mere fuel for the upcoming (big) phase of his career. Mid 1950's witnessed American corporations begin to somewhat take notice of their European counterparts (much like Rand had long ago as a student) but instead of feeling inspiration and motivation they were burdened with envy over the varying branding styles and became more competitive in the market. Thomas Jr. of IBM was noted as envious towards the ostentatious Italian typewriter company: Olivetti, and in an attempt to better his own company Watson hired Elliot Nayes (a designer and curator for the Museum of Modern Art) to help his cause. Nayes first port of call was, in turn, to hire Rand.

It's safe to say that Rand's influence at IBM was both slow and gradual. Not only did he have to create a design system for the company but also convince the designers (at its many outposts) to ultimately abide by it. He even worked on packaging, showrooms and interiors for the company's offices in an attempt to make it more personable as a whole. Rand's most permanent bestowal on IBM came in 1962 when he revealed the company logo is actually still in use today and was, in fact, a design he had battled with for years.


                        

The horizontal stripes of the final design were perceived to have solved two problems: from an aesthetic standpoint that united the letters as one and altered the company name to both look and feel lighter, taking away from the previous monolithic feel - all of which stack to become useful aspects for a business company logo which can be regarded as quite heavy and dull to begin with.

After this design battle had been undoubtedly won more jobs followed suit and Rand created identities and logos for the likes of UPS, ABC and Westing House - his work for these companies allowing people (and businesses) to see the value of consistent branding and identity and ultimately make it a more prominent aspect in future corporations, thus showing just how massive Rand's impact was on the creative industry and design itself, earning him a deserved status as a 'master of the trade.'

SOURCES:

1. http://www.wired.com/2015/04/paul-rand-visionary-showed-us-design-matters/
2. https://en.wikipedia.org/wiki/Paul_Rand