a visual artist's career guide 2015

CareerGuide

presents

A Visual Artist’s

Contents

Architecture

Make-up Design

Web & Graphic Design

Theatre Design

Advertising


Creative Direction

Fine Art

Web Design


Creative Direction

Film & Television

Welcome to The John Lyon School Visual Artist Careers Guide,

With this guide it is our aim firstly to promote the visual arts as a career choice. We believe that

the study of art and design can provide a committed student with access to an impressive range

of options, and it is our intention to provide a realistic and detailed insight into exactly what these

options can entail.

As artists and designers we are fortunate to be based in London, the centre of the UK and an

internationally renowned centre of creativity. Within this vibrant, dynamic city it is possible to

discover and explore some of the world’s leading museums and galleries in the fields of art, craft

and design. Across the realms of advertising, architecture, fashion, film or publishing to name but

a few, the UK and its creative industries remain at the forefront, pushing the boundaries of what is

possible.

At The John Lyon School we teach the boys a number of disciplines within the visual arts, from

drawing and painting to animation and film making. The nature of the UK’s creative industries

is such that individuals from different creative specialisms are often required to ‘rub shoulders’

with each other. The resulting environment is perhaps responsible for the cross-fertilisation of

ideas and blurring of boundaries that make the UK such a rewarding place to be professionally

creative. We try to prepare the boys for this with open style studios where students of all ages

work together.

The UK creative industries were worth a record £76.9 billion to the UK economy in 2013, after

growing by almost 10 per cent year on year. Official statistics from the Department of Culture,

Media and Sport also show the creative industries made an economic contribution equivalent to

£8.8m per hour of Gross Value Added or £146,000 a minute.

All boys at The John Lyon School study art from year 7 through to year 9. It is at the end of year

9 that John Lyon boys make their GCSE option choices. It is our intention to encourage any and

all boys who are passionate about the visual arts to consider taking it as a GCSE course. The

skills taught in art at GCSE level require a combination of practical finesse, creative thinking and

critical awareness, allowing our students to make considered decisions in a unique and exciting

manner.

We hope that you find this guide informative and helpful in exploring the options that a visual arts

education can support. Please contact the Art Department should you have any questions.

Ms. Lorna HopeHead of Art

The John Lyon School


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with Sabine Storp, 50Architect at StorpWeber & UCL Admissions Tutor

Architecture

Does a visual arts education prepare you for the challenge of being creatively unselfish?

My education certainly helped me to develop a creative approach to any challenge. Being able to try to address any subject/client is the main focus of my daily creative approach. Working for employers is often different but you learn soon to adapt and try to make things your own.

Do you feel like the pressure to make the right subject choices at school is justified?

Not necessarily. There is always a way to make your dreams a reality. Sometimes a slightly longer route is helpful. Certainly in architecture there are many false preconceptions of what the right preparation is.

Do you ever find time to think about your future and the direction you are headed in?

There is always little time for thinking ahead. However, it is very important to plan ahead and set ambitious

projects for the future. Somehow this is a lifeline and keeps you dreaming of the projects you would like to do and achieve.

What sort of obstacles did you overcome on the road to where you are today?

When I started to study there were no university places available. I had

A Visual Artist’s Career Guide

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to study in a different country. After finishing my degree I decided to do my postgraduate studies in a different creative subject, which was very much like a u-turn. In the end I decided to finish my Architectural studies and became a registered Architect anyway.

What item on your CV seems to impress people most at interview?

Working on many projects abroad during my studies and later in my professional life. During my studies most of these projects had to be funded through scholarships or awards prior to starting, and were based in Developing Countries giving me the opportunity to travel around the world. Abroad I soon had opportunities to lead very large projects, which I would not have achieved from working in the UK and Germany alone.

FA C T B O XArchitects design new buildings and the spaces around them. They also work on the restoration and conservation of existing buildings. They manage the construction process, control budgets and deal with planning issues.

Typical starting salaries for Architects in training start at £15-£20k and rise to £26 - £35k.

Fully qualified architects can earn £35 - £80k, and often higher at senior partner or director level.

Salaries vary considerably according to the location, sector and size of the employing organisation. Salaries are normally higher in London.

To become a fully qualified architect you must study at degree level for 5 years and then complete 2 years ‘professional experience’.


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Make-up Designwith Grace McComisky, 25

Special Effects Makeup Artist at Civilised Mess

The integrity and anti-establishment potential of visual art is a source of great inspiration for young artists. Do you ever worry that by using your skills to support yourself and serve the interests of others you have made some sort of moral compromise?

I enjoy creating art and by working in the film and events industries I can earn a living by doing just that. Rather than compromise and take a job at a company I didn’t believe in, I co-founded Civilised Mess with my friends. I think that shows a lot of integrity.

How often do you take a critical look at your practice? Do you continue to refine and develop your skills, or is it more a case of playing to your existing strengths?

I think it’s essential to take a critical approach to your work to see where you can develop further and progress. There is so much to learn and university for most is just the start.

As soon as I finished my degree and started to work with other people in the film industry my skills really started to develop.

There really is no limit to what you can learn and even the most successful people in each industry never stop developing their skills and learning new things. Playing to your strengths is great but developing new skills will keep you inspired and widen your employability.


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Have you personally ever felt like you took the hard road or gambled by choosing a creative career?

Nothing is easy working in a creative career but I also never find it boring. It’s often a bit of a roller-coaster but I couldn’t imagine doing anything else. A creative career is more than job for most, it’s a life-style, and you need to love it. Being self-employed or freelance is sometimes fiercely competitive but on the flip-side it is intensely motivational working alongside others who love their job as much as you do.

Stay positive and keep busy working on your portfolio when not in work. Employers respect people who show enthusiasm and self-motivation. Also keeping in contact with people you want to work for or with is important.

Did you study at college or university? What are your feelings about that time?

When I was in school I wasn’t 100% clear on what creative job I wanted to get in to. I knew that I wanted to do something, which combined art and theatre in some way but only drew the connection to special effects makeup when at Art College. When my tutor told me about the BA Makeup and Prosthetics at London College of Fashion and I realised this was the perfect job for my interests and skills.

Most people I’ve met in the industry have done a degree or course in makeup and I would recommend this. When I went to university there was only one degree available which was BA Makeup and Prosthetics at London College of Fashion. Now there are lots more courses out there. My degree was great for where I was at that time and set me up very well to start work in a professional work environment.

FA C T B O XA make-up/hair assistant can charge rates of around £200 for a 10-hour day. Make-up designers can charge in the region of £300. These rates are for drama and light entertainment television productions and low-budget feature films.

Rates are negotiable and individuals who are well regarded in the industry are in great demand and are paid well above the rates listed, especially for high-profile productions.


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with Hollie Revell, 28Senior Designer at MRL Agency

Could you identify one or two common myths or misconceptions about the graphic design industry?

People tend to presume that because you’re a designer you can produce great, polished ideas in an instant, but for me it doesn’t always happen that way. Sure, you need to have a certain level of creativity within, and a desire to produce great stuff, and for many of my peers it does appear to come easily, but it’s not the same for every creative. It takes time to find your own process, and you’ve got to stay current and keep your work fresh. I’ve found I need time to look at what other designers are doing, craft a piece of typography to its limit, or marvel over a glorious piece of print every now and then to stay inspired and motivated about what I do.

How early in your education did you begin to think seriously about jobs and making money? Was it early enough?

Once I started doing work placements in my 2nd and 3rd year at university I got a taste for the industry and from there I felt eager to get out there and see what I could do. That was early enough too, it didn’t mean that I was tired of my course or that I wanted a job straight away, but looking back I’m glad I was keen to get into work, it meant I could be really enthusiastic when I got started.

How often is it necessary for you to work with people from outside the creative industries? Do you ever feel there is a lack of respect for or understanding of the skills you have cultivated?

I’m often asked to work directly with clients, which is mostly really rewarding but sometimes can be difficult due to lack of understanding or respect for what I do.

On the flip side some clients can be over the moon with what you’ve produced and value your skills and expertise massively, so it’s swings and roundabouts, it depends on the project too.

It’s easy to become very passionate about a project and when that happens it’s hard to compromise on how it looks and feels, but there are many other aspects which come in to play, most frequently the budget. Sometimes it’s a challenge to achieve what a client wants or what the project needs on a given budget.

Web &Graphic Design


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Sometimes I feel the industry has become devalued by stock image libraries and crowd sourcing websites. Often the work goes to the lowest bidder, not necessarily the person that is best for the job. But again this often comes down to budget and the amount a client is willing to spend – this happens a lot in our current climate, but it often compromises the quality of creative which is a shame for those who could produce great work or miss out on a job because they weren’t the cheapest, it makes the competition even tougher too.

How important is it for non-freelance visual creatives to maintain a portfolio and/or personal website?

This is extremely important. It’s always difficult to keep yourself organised and on top of your portfolio, but if you can keep it regularly updated and even better make it digital, you stand a much better chance of getting noticed. It means that people can view your work and what you’re about instantly giving you an edge and making you easily accessible and contactable if a job comes up. It also helps you grow as a creative

personally, you learn to curate your work and find out your strengths and what makes you the creative you are.

FA C T B O XGraphic designers work mainly nine-to-five, but deadlines may require working additional hours. Opportunities for graphic designers exist in cities throughout the country, although freelance designers can work from home.

Career development will more than likely require frequent job movement to widen your experience and develop your portfolio.

Employers expect a good knowledge of design software such as Quark, InDesign & Illustrator plus photo-editing software, including Photoshop.


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Theatre Designwith Hannah Sibai, 29

Freelance Theatre Designer at Oscar Mike

Does a visual arts education prepare you for the challenge of sharing your creative vision with others?

Something that we were taught at college was to not be too precious about our work and our ideas. Part of any creative process involves being brave enough to throw away an idea either when someone else isn’t sold on it or it’s not working in that specific context.

I found that at the start of my degree I was encouraged to be free with my designs and experiment with my artistic interests. However, there were always boundaries to be creative within, such as budgetary requirements or a director’s ideas to manage. I found when I started working in the real world it’s still possible to feel creative whilst working within constraints. In fact, taking on board other creatives’ ideas can be very inspiring.

How has your style evolved over the years? Were any changes deliberate or perhaps due to the influence of your surroundings including colleagues?

Over the years I have noticed common themes within my work, without knowing from where they were born or what influenced them.

As a visual artist I think that inspiration can come from anywhere and everywhere; a painting hung in a gallery, a photograph on Instagram, an advert on a bus or the back of a cereal packet, creative seeds are constantly being planted. The fast pace of Culture generally can shift our way of seeing and will have an impact on any creative outlet we have. Directors I have worked with have also helped me to evolve my work. It’s the combination of ideas and true collaboration that create the most exciting designs.

Do you feel like the pressure to make the right subject choices at school was justified?

I think young people experience a balancing act of picking subjects that they are naturally good at, subjects they enjoy and subjects perhaps their parents or teacher suggest


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they should do. I think it’s hard at a young age to truly know what career path you might like to take, but I believe it is important to pick subjects that will inspire you to make that decision. A subject like Art is broader than some may think. Ultimately it’s your decision at degree level that will have the biggest impact on your future.

Do you ever find time to think about your own future and the direction you are headed in?

Constantly! Being freelance, as soon as one project has finished, you’re looking for the next. Even whilst knee-deep in designing a show I still have to keep the lines of communication open for finding new opportunities. It’s quite a reflective time when I add another design credit to my website - I get to map where I’ve come from and how my work is developing. You also learn a lot of things along the way. Because I design for a lot of different projects I am always working with different people and in different ways. Over the years I get to find out what sort of work I enjoy the most and what sort of work to avoid in the future.


A year ago I was Art Director on a Kaiser Chiefs music video. I find people are impressed with that credit because it’s a band people have heard of and therefore perhaps a bit more accessible than theatre! People think that must have been a glamorous experience, but it was pretty cold and a lot of hard work. We were on

site at 5.30am in the middle of winter, setting up props in the dark! It was great fun nevertheless!

FA C T B O XTheatre Designer is not typically an entry-level position. Those breaking into the field usually start as art department runners, art department assistants or design assistants.

Freelance rates vary so it is best to check current agreed rates with Broadcasting Entertainment Cinematograph and Theatre Union (BECTU) and Producers Alliance for Cinema and Television (PACT).

Rates for feature films and high-end television dramas tend to be higher than those for theatre or low-budget productions.


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Advertisingwith Hamish Lloyd-Platt, 30

Freelance Designer at thehamish.com

Could you identify one or two common myths or misconceptions about your chosen area of expertise?

I have worked in graphic design, web design and now online advertising. My grandmother said that advertising is the devil and that people will simply buy anything you shove in their face. She turns off the sound on adverts on the television when there is a break. I think she misses the point that many of the programs she watches are funded by advertising revenues.

I myself believe people will only buy products that are relevant to them. I actually used to hate advertising too, though now I am on the ‘dark side’ I am getting more and more into it!

Another myth is that perhaps you must ‘know everything’ at work. You might only have to be brilliant in one area which your employer is choosing you for and needs at a specific time. It takes many skills and backgrounds to make a team work together so the main thing to do is put your work in front of the employer and you might get lucky.


I don’t think I really thought about it seriously until I needed to buy a flat and get a mortgage, which happened when I was 28. I was happy working for myself and not earning a great deal – but when I applied for some jobs I realised that you could earn quite a bit more money working in-house, which opened up its own opportunities.



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It’s very important – very rarely are clients creative and that’s why they hire you. If they are, they can be tricky to work with as the will want to make their own creative decisions and changes. This can sometimes lead to a butting heads together and so isn’t always productive.

For me if someone isn’t willing to pay your going rate, assuming that it’s fair and you have asked around and compared yourself to others with similar skills, that’s usually a sign they are not particularly interested in you or your skills and just want to get the cheapest price. Steer clear!


I think it’s very important, as you should always be thinking of the next job you have and if you don’t

have a website people don’t have a reference for the work you do to see whether it fits with the position.

It can take up a great deal of time though and dates very quickly. When you do apply for jobs it helps to have a PDF with work samples which is easier to update send across to the employer.

Have you ever considered re-training or continuing your studies in some way?

I would like to develop my illustrations which it would be great to dedicate a longer amount of time to without a looming deadline. I always try to sneak them into freelance work, so would be great to have more time to spend on a project which you usually get in a college or university environment.

FA C T B O XWeb designers use their creative and technical skills to build new websites and redesign existing ones.

With experience, you can earn between £25 - £35k or more a year. Freelancers set their own rates and often work from home.

You don’t always need qualifications to become a web designer. However, most designers have experience in other types of design, or have done some training.


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Web &Graphic Design

with Jason Smith, 28Designer at Fiasco Design

How did the role that visual art played in your life change when you began to pursue it professionally?

It became more important. But I don’t think it’s changed too much. I’ve always been excited by creativity and hopefully I will continue to be excited. It’s something that develops with you.

Has it been easy to support yourself as a creative professional? What financial advice would you pass on to someone starting out?

To be blunt it wasn’t easy in the beginning. I worked 4 jobs to try and get the business off the ground. In the early days it was all about persistence and determination. We’ve got to where we are now without one single loan.

My advice would be... Don’t get yourself in debt. If you have a laptop, you’re pretty much half way there. Find a decent working space, maybe share a studio with like-minded friends and try and keep costs down so you can focus on your work. Also, just surround yourself around people you can learn from. And remember it’s all about good work, without ‘good work’ you have nothing.

How does justifying creative decisions to clients and colleagues without an arts background challenge you?

It’s part of the design process and for me it’s all about trust. As an expert the client should trust your design decision, that’s why they have hired you.

Throughout a project there are various design stages, and these stages are implemented to help the client understand your processes. Good research is also key as well. Spend time finding out as much as you can about your client and their needs.


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Can you remember what sort of advice and career-related support you had as a teenager?

I was pretty much told by my art teachers that I would be a designer rather than an artist. Which was a little confusing at the time, but completely correct. I had a passion for design from around the age of 10, which made certain decisions throughout school a little easier for me to make.

The only support I had was from my art tutors and my parents. My school’s career advice team were shockingly bad, even giving me false information. It’s best to speak to people who have been there themselves.

I went straight to University to study graphic design from sixth form without doing a foundation degree. I was the only student in my year that hadn’t completed a foundation first. Another myth told to me by my career advice liaison.

I owe a lot to my tutors from school. They were the ones who started to help me think like a designer. They introduced me to colour charts, composition, layout, software all of the basics really. They

also got me excited about design. However I didn’t really learn anything in university I didn’t know already. I learnt more from friends and fellow creatives around me.

I have also self-taught a lot throughout my career. I’m continuously learning. You never stop learning, that’s one of the main reasons why I love what I do! Every project is a new challenge.

FA C T B O XGraphic designers use lettering and images to communicate information and ideas.

Starting salaries for junior graphic designers are between £15 - £19k while experienced designers and lead designers can earn in the region of £25 - £50k.

Most professional graphic designers have a foundation degree, HND or degree in graphic design or other art and design-based subject

To become a graphic designer, you will need to develop strong IT and drawing skills.


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Creative Directionwith Thomas O Quinn, 44

Creative Director of Men’s Health Magazine

Does a visual arts education prepare you for the challenge of being creatively unselfish and in some ways letting go of your work?

Not until the last year. I didn’t learn how to design for others until I got into the real world. Art College was about learning the fundamentals of colour theory, design, illustration, and advertising. It was all very self-indulgent until we had a class project for real-world clients.


I have become more appreciative of modular grids and a “less is more” aesthetic. When I was in art college in the 90s, Ray Gun magazine was popular and computer design was exploding... Leading to an “anything goes” and “break the rules” ideology. Now I like order, clarity and readability. Do you feel like the pressure to make

the right subject choices at school was justified?

Yes. It costs a lot of money and the things I learned helped me get a graduating portfolio, which then helped me land my first job.


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alternative music, clothes, and crazy 80s hairstyles garnered me few friends in the small town I grew up in. I was a creative kid, but very independent and aware of what was going on in pop culture, fashion and music.


My current title - Creative Director of Men’s Health magazine.


More often now than before, as I am mid-career... So longevity is always a concern! Technology is always changing and with digital design being the new frontier we must constantly learn new skills and update knowledge of software.


Coming from a lower-middle-class family, so there was no money for college. I had to take out loans and do it on my own. Divorced parents. A penchant for

FA C T B O XA creative director shapes the creative style and quality of a studio, agency or design department. They are responsible for the organisation’s creative output.

Becoming a creative director for many is a natural progression from the role of designer.

Some creative directors take on more managerial responsibilities, while others lead with a more hands on approach.

The role can vary greatly from one agency to another.

A creative director in an agency could start at £35,000 to £40,000. An experienced creative director in a large agency could earn £75,000 to £90,000.


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Fine Artwith Georgia Peskett, 49

Fine Artist


Yes it’s morphed many times; I began training to go into graphics for publicity and advertising, then managed to travel to New York and be an artist’s assistant where my own painting developed, influenced by other artists and my surroundings. I did get to use my illustrative skills some years later for books, magazines and other work I did along with my painting practice that at that point I wasn’t yet exhibiting.


Yes, the experience of learning whilst collaborating with other creatives teaches you a lot about visual communication and its uses. I think it pushes you to experiment and not be too precious about what you’re doing.


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I had some great teachers at school who saw potential and encouraged me. There was less competition and pressure to get a degree back in the 80’s. Things are harder now, so the decisions about our future seem to have to be made sooner.


Every day, it’s important to step back often to assess and plan ahead as much as you can.


I often encountered obstacles, as a fine artist, it’s slightly more risky than being a

FA C T B O XFine artists create original pieces of art work, often through a variety of mediums. They often specialise in a particular type of art such as painting, drawing, sculpture, installation, performance or film.

Fine artists can be commissioned to produce a piece of work or they can work independently, selling on their work either directly to the public or through an intermediary such as a gallery or an agent.

Some fine artists choose to supplement their income by running art classes or community art projects.

more commercial artist. Being prepared for anything is always good, having backup skills that you may need.


Perhaps that many of my works are in public and notable private collections worldwide


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Web Designwith Gareth Williams, 29

Freelance Visual Designer & Front-end Developer

How did the role that visual art played in your life change when you began to pursue it professionally?

When producing work now I have to consider what other people want and need and also how to create within a team. I found the transition of doing work on my own to working in a team hard, throughout education the majority of projects and grades are based on our own personal work. Then when we’re in a commercial job we’re not just isolated individuals anymore, it takes a whole team working together to realise a commercial project. I found it easier the more I did it. I got less and less self-conscious about people seeing my work while it was half finished and how to compromise more on shared ideas.

There was also a big shift in whom the work is for, it wasn’t just for me anymore. There’s people paying me who want something made and I have to balance my creative visions with their needs. This is a challenge, but with perseverance and openness solutions are found.

Even with stresses of working, creating professionally hasn’t changed how much I enjoy creating. If anything I enjoy it more now because I’m in a position where I can create every day.

How does justifying creative decisions to clients and colleagues without an arts background challenge you?

When you produce creative work you go on a journey with the work and you make a lot of internal decisions along the way. I find it helpful to tell the story of this journey to clients, making it engaging by showing early ideas in the form of sketches from throughout the process. It helps them to understand why I’ve made the decisions I have and as a result the changes they suggest are easier to manage.

Can you remember what sort of advice and career-related support you had as a teenager?

I don’t remember getting much creative career support at school. When I was at


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university studying Photography however I do recall one distinct lecture from a professional photographer. He advised us that only a couple of people from each year group will get a job specifically as a photographer. That was in the last couple months of the course and stunned us all quite a bit! Looking at what everyone is doing now from my year group though, I can see he was right. Finding work in a creative field can be a challenge. I think it could be made easier with more connections between creative industries and schools. There are a lot of creative jobs out there I’d never heard of as a teenager.

How much of your skill-set do you consider to be self-taught, and how much do you owe to you teachers, lecturers and fellow visual creatives?

I owe different areas of my skills and knowledge to people I’ve encountered across my education and career.

The majority of the technical skill sets I use have been self-taught, I try to learn and practice techniques and skills every week. I taught myself how to code basic HTML and CSS when I was 14, at the time the internet was very young and I had to get out books from the library to learn from. I think there’s

never been a better time than now to be interested in creativity, you can learn all sorts of skills and techniques from online resources.

From teachers I learnt how to apply critical, conceptual and psychological thinking in my work. Lecturers were also great for delving into individual concepts and art theory.

From working professionally in teams I have learnt how to work with others on the same creative problems and how to create work that’s commercially viable.

FA C T B O XWeb developers design, build and maintain websites and web applications to meet their client’s needs. Jobs can range from creating a staff intranet for an organisation to building a payment system for an online retailer.

Starting salaries for junior roles are between £20 - £24k a year. With experience, this can rise to between £25 - £35k. Lead web developers may earn up to £45k or more a year.

Web tech is constantly evolving and aspiring developers should expect continue training throughout their career in order to keep up to date.

Depending on the job, developers are likely to need a working knowledge of one or more of the following: Java, C#, Perl, PHP, Java-script, ActionScript, Ajax, HTML, XML and Cascading Style Sheets (CSS).


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my opinion early focus and thinking about jobs and making money is the key to sustaining a creative occupation.


Could you identify one or two common myths or misconceptions about your chosen area of expertise?

A common misconception is that as a visual communications specialist, all I do is pick colours and interesting letters. This misses out the conceptual development, craft, artistic skill set and consulting experience that is a large part of my area of expertise.


After graduation, I realized that the piece about making money to support myself was not emphasized for the majority of my design education training. In retrospect, having more education on for example pricing my work, salary brackets and job opportunities should have been part of the curriculum. In

with Kendra Jacobs - Azevedo, 43Senior Graphic Designer



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I work with new clients regularly that are in non-creative fields. There is a perception with new clients that I am an expert in what I do and how I can add value to companies. A lack of respect is present in instances where people do not feel there should be an applicable fee for the custom work created from the skills I have developed.


A website is an extremely important tool for non-freelance and freelance visual creatives. A portfolio or personal website gives a visual expression of the creative individual through their work. There also are portfolio based websites for creative professionals that can interact, encourage and collaborate with each other. These sites successfully create exposure and build connections which is very important for a visual creative’s career.

Have you ever considered re-training or continuing your studies in some way?

Yes, I have continuously added computer training over the years, based on the project requirements and employment requirements. I am currently looking into the steps needed to continue my studies.

My focus will be to complete my Master’s degree in Graphic Design or in Art Education. I have enjoyed teaching art lessons to teens and in the classroom as a visiting artist.

FA C T B O XA single individual’s job may involve managing more than one design brief at a time and allocating the relevant amount of time according to the value of the job.

Designers are required for a huge variety of digital and physical products including websites, advertising, books, magazines, posters, computer games, product packaging, exhibitions and commercial displays or points-of-sale.


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Creative Directionwith Neal Lankester, 49

Creative Director


I did an HND which gave me a much more commercially focused portfolio than if I had done a degree, so in my case, yes.

How has your style evolved over the years? Were any changes deliberate or perhaps due to the influence of your surroundings?

My visual style has definitely evolved and life experience has facilitated that over the last 25+ years.

Influences can come from anywhere and I’ve always got my eyes open to everything around me. It’s a way of life rather than a career!


I’m not sure if I would have made the right choices if I wasn’t influenced by my step father who was in the creative business. He actively


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FA C T B O XCreative directors are advertising agency department managers who guide and oversee the responsibilities of copywriters, artists, graphic designers, photographers and other members of the creative team in developing advertisements.

They take the concepts developed with account managers and clients at pitch meetings all the way through to delivery of the final advertisement, monitoring work-flows, budgets and schedules along the way.

encouraged me to explore the creative side of my schooling and it was the best thing that could have happened to me.. I’m not sure where I’d be now if it wasn’t for him...


As a business owner, following on from a career as an employee in marketing, advertising and design, I think about it all the time!


Mostly understanding how to deal with people and professional situations. Learning to listen and not being too quick to step in with

a solution to a problem. Pick your battles and your moments for maximum effect :-)


Good question. Probably looking at the work on my site and not reading the words on the page. They say that pictures say a thousand words; it seems to work so I’ll keep doing that. It doesn’t hurt for potential employers to see your track record and achievements though, especially if you’re looking to be an employee rather than an employer.


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Film & Television


From an early age I was obsessed with drawing, luckily my parents were extremely encouraging and allowed me

to draw and scribble on anything and everything. This early freedom helped me develop the courage to be creative.

Now when I have to respond to a brief, particularly ads and promos, this freedom is still vital. It gets me going, helping to generate ideas, and doesn’t inhibit me. Later on I can filter out the good from the bad.

How has your style evolved over the years? Were any changes deliberate

or perhaps due to the influence of your surroundings including colleagues?

My visual style is now in film and video, but I am drawn to a certain style of cinema, wide angles and a stylised art directed look.

I think that comes from my initial love of caricatures and drawing. I was very influenced by comic books and the work of Terry Gilliam as a young art student and this has manifested itself in the kind of imagery I like to create. Having said that, the brief, look and feel of each piece depends on the narrative, the story, and of course the client.


That’s a tricky one. I was artistic and so was naturally drawn to Art, Design and English. There was no pressure from my family or the school to lead my choices but I remember some parents commenting that my choices were not going to help me with a career, when what they really meant was, those choices weren’t going to help me to achieve their career.

In fact, knowing at 12-13 that I wanted to direct films has been an incredible benefit and the choices I made at that age were the right ones. Do the work that you love is the best advice anyone can give.

with Niall Towl, 43Writer and Director at TellyJuice


27


I am lucky enough to run a company with two business partners and so have the opportunity to lead the company in certain creative directions. So one year we made 12 comedy shows, last year we made some cool ads, and this year

I am looking forward to creating some documentaries.

One of the key things in any creative life is to stay interested and excited in what you are doing, so planning and following your instincts is really important. Keep playing and never stop coming up with ideas.


You need a bit of luck in any career, getting started is the key. I left film school in the early 90’s in a recession so found it difficult to get a job to begin with. But I was happy to get stuck in with runners’ jobs, learning anything I could

about film making and writing scripts along the way (this is pre-internet!) and whilst unemployed, I would write stuff and storyboard ideas. Luckily it has all worked out nicely, I can’t really say mine is a Rocky style overcoming of the odds, but being dedicated to the idea of becoming a director from the age of 11 has been a real help overcoming any bumps in the road.

FA C T B O XDirectors have overall responsibility for the way films or television programmes are made. As a director, you would use your creativity, organisational skills and technical knowledge to manage the whole production process.

In some cases you might write your own scripts and raise finance for projects. On some productions you might also operate camera or sound equipment – this is particularly common with documentaries or productions with a small budget.

... Which might seem crazy, bearing in mind I am now Head of Art at The John Lyon School. I have always loved art and was an avid drawer and maker from a very young age, producing copies of posters and making my own furniture. It was this love of art, design and making that did eventually lead me to study Fine Art & Design at sixth form college. I started at a disadvantage as I had never been taught the technical skills formally, but I persevered and developed my skills to continue onto foundation and then a degree course, gaining the highest marks in my year and becoming the president’s honours student.

University, or art college as it was known in those days, was an amazing experience. I studied initially at Falmouth College of Art in Cornwall and then following a student exchange transferred to Canada where I studied at The Alberta College of Art in Calgary. I was encouraged to experiment with fine art, film-making, textiles, silver-smithery, glass and many other disciplines, developing my ideas in a variety of media and formats, an experience that has been of huge benefit in my career as a teacher.

I left art college full of optimism and returned to England, where I got a studio in a local gallery and went about life as a professional artist. Admittedly the money didn’t come rolling in straight away and I took a part time job at a local supermarket to help make ends meet. This arrangement allowed me to paint and exhibit my work, occasionally working with other artists and designers. After 18 months or so, I decided to head to the capital to get a job in a creative company.

London life came as quite a shock at first , but it was also energising to be in such a stimulating and creative city. My first job was for Tony Stone Images (now famous as Getty Images) where I was responsible for scanning in all photos and refining them using Photoshop, the first digital files created for a photo library, how ironic for those who know about my Photoshop skills now! This job soon led me back to becoming an Artist and Illustrator. I worked with the Princes Trust to create my own commercial illustration and fine art business which I ran for a few years, until I needed to invest in commercial printing and it seemed to lose its personal touch. Out of the blue I was offered a job as an interior designer for an interiors company which designed palaces for the Saudi royal family!

After such a varied experience of the visual arts industry I settled on the idea of teaching, a career my mother and tutors had always recommended but I had avoided on my father’s advice, a teacher himself. In some ways my father was right to warn me, teaching is a demanding job, which can push you both physically and mentally. However, it is also extremely rewarding, and I can honestly say I love my job.

I would recommend art & design as a subject to anyone who enjoys creativity, if you like drawing, painting, print or sculpture it is a wonderful subject in which everything you do counts for your actual GCSE, AS or A2 grade. At John Lyon we can offer you amazing resources in the form of well-equipped studios and frequent opportunities to work with professional artists in workshop. Visits to contemporary exhibitions are a regular occurrence and help to develop your skills and understand of art history. As a department we pull together to support you in your application to university and can even arrange early interviews for anyone wanting to study at London College of Communications.

Ms Lorna HopeHead of Art


“I never studied art at secondary school...”

...So choosing it for GCSE and A-level was an easy decision. During Year 13 I decided that I wanted to become a graphic designer, although admittedly this was mainly because it sounded cool. At that time the only route on to an art degree was via a foundation course, so I applied for one at my local college, Ravensbourne. I remember being asked at the interview what the concept was behind the laminated plywood lamp that I’d brought along with my portfolio, and struggling with an answer. At school, I was just doing the work I was set and researching the artists I was told to. At art college, I was encouraged to explore, question, imagine and create.

After a great year experimenting with graphics, illustration, 3D design, film and animation, I was certain that I still wanted to apply for a graphic design degree course. But did I want to stay in London or did I want the campus experience that my friends were having elsewhere? After attending a few different open days, I realised that I wanted to stay in London because it felt more exciting to be an art student in the capital (and I could pop home at any time to get my washing done).

I was accepted onto the BA Graphic Design course at Central Saint Martins. The college is internationally renowned, and working alongside fellow creative types from all over the world was an invigorating experience. Going to art college can be quite a different and unusual experience when compared with other university degree courses. Art colleges are full of inspirational people with wacky ideas and a relentless kind of energy. At CSM we regularly worked with client-led live briefs and had the opportunity to enter many international competitions. Throughout my three years I began to specialise in animation and illustration, and loved every minute of it.

Following university, many friends got jobs at graphic design companies, web design companies and advertising agencies. Some started working freelance, building up their own client bases, and others grouped together and to form their own fledgling companies. I myself landed a job as a junior graphic designer with a small company in Kent, where I worked on designing anything from books to websites. However, after only a year I was back at art college again, this time doing an MA in Communication Art & Design at the Royal College of Art.

Since graduating from the RCA, I have illustrated and published my own children’s picture book, and continued to design websites, book covers and graphics for a variety of clients. My artistic practice is constantly evolving, and is now focused much more on drawing. I still accept commissions and love diving back into my art during the school holidays.

Art is an incredibly rewarding subject to study at GCSE and A-level. For me it was the one subject where I could truly express myself. I loved the focus on practical work and keeping a sketchbook of all my ideas. GCSE Art introduces you to so many different artists and techniques, encouraging you to be creative and ambitious. It demands a lot of your time so you have to learn to work independently. There is an exam at the end of Year 11, but the great majority of your GCSE grade consists of the sketchbook work you produce over the two years. If you like art and are good at it, you should definitely take it for GCSE. Whether or not you want to become an architect, designer or filmmaker, GCSE Art will teach you skills which will be useful for the rest of your life.

Mr Edward Collard-WalkerArt Teacher


“Art was my favourite subject at school...”

storpweber.com fiascodesign.co.uk@fiascodesign

civilisedmess.co.uk@civilisedmess

homeagency.co.uk@holrev

hannahsibai.co.uk@hannahsibai

thehamish.com@thehamish

Sabine Storp Jason Smith Grace McComisky

Hollie Revell Hannah Sibai Hamish Lloyd-Platt

Thank you

tomoquinn.com@tomoquinnNYC

jacobdesign.ca@kendra_JA

tellyjuice.com@tellyjuice

garethwilliamsdesign.co.uk@garethsideas

neallankester.net@nealankester

georgiapeskett.com@georgiapeskett

Thomas O Quinn Kendra Jacobs-Azevedo Niall Towl

Gareth Williams Neal Lankester Georgia Peskett

Thank you

The John Lyon SchoolMiddle Road

Harrow-on-the-HillMiddlesexHA2 0HN

T: 020 8515 9414E: [email protected]

a visual artist's career guide 2015

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