MADDEN'S ADVICE.

In prep for our London trip in a couple of weeks, I've started to contact clients and agencies that might be kind enough to spare some time for me to show them some work. I've got a rough idea of the sort of people I'd like to see but I'm still a bit sketchy to some degree. So far I've been in touch with Nobrow and The Church of London but struggling with associating my work to specific clients.

With this in mind, I thought I'd drop my 'graphic guru' Chris Madden a quick email to see if he had any suggestions. With him being in my shoes a few years ago, I thought who better to ask then the man himself! He was kind enough to send me a detailed set of wise words that helped me out a great deal. His email consisted of the following:

Alright Kris,


Good to see you at DNW even if it was brief. Sorry I didn't get a chance to chat to you properly.
Your work is looking really nice at the minute, its matured a lot over the past 3 years. I remember some of the drawings you did in your 1st year and they were completely different to what you're doing now! Looking forward to seeing what you put up for your degree show.


With regards to portfolio viewings I wouldn't  suggest avoiding anyone - even if they don't print work like yours in there mags/papers, it is another professional giving you critique and feedback. That is invaluable and something you don't often get once you leave college.


In my opinion, your work would lend itself well as book jackets/covers more than editorial so maybe make attempts to visit more publishers as opposed to Art Directors. A good place to start might be 'Random House', as I think they have an in-house design team that might let you have a look round too.  Try Harper Collins and Macmillan too. Don't write off editorial by any means though, all Art Directors are different and have different tastes. The AD's I deal with day to day may not commission work like yours but here are hundreds that will!


I think the best thing to do is send out as many emails and make as many phone calls to Ads/publishers as possible. The worst that can happen is they will say 'Sorry No, I don't have time' (which can also be good practice on how to approach/speak to professionals). Contact a few illustration agents too, most of the time they are more than willing to meet 'fresh' illustrators and from personal experience I have had some of the best advice from them.


I hope this is all helps - the more people you contact, the more people see your work and the more advice you will receive. There isn't really a downside to this process, mate!


let me know how you get on and if you have any other questions, just send them over.


Cheers


Chris

I've always been a little unsure as to what sort of format my work would benefit most from, but I haven't ever really considered book sleeves. I'm hoping to produce some editorial pieces in the next few weeks, initially to speed my working pace up but will definitely start to look at publication work. I've only really scratched the surface when working with typography and feel that it could be a chance for me to have another go at that. When I've played about with type in the past, I've always found it quite a challenge to get the right balance with the imagery, in a way that compliments one another. I think its time to start adding to my ever growing folder of stock imagery of typefaces I like and take it from there. Thanks again to Chris for being kind enough to get back to me and give me some fresh thoughts.