The Reply :

Re: Enquiring Student : Kachia Rafferty‏

From:	Myles Talbot (mylestalbot@mac.com)
Sent:	12 February 2009 20:57:54
To:	kachia rafferty (kachiarafferty@hotmail.co.uk)

Hi Kachia

Here you go!

Myles

MYLES TALBOT illustration

mob: 07710 831288

tel: 01274 510338

www.mylestalbot.com

Professional Practice Questions




What inspired you to become illustrator?

While at school, the only thing I could do well was draw cartoons and make my mates laugh. The art teachers picked up on this and encouraged the drawing skills. I did not know you could make a living out of this until much later on when I did a foundation course after leaving 6th form.

What was it like when you were set ‘free’ from Uni?

A combination of sadness at leaving college (end of an era) and enthusiasm of working for a living, and at last earning some money.

Where do you work? (do you have a studio and home or somewhere else)

I have a studio at home. It is an extension to the back of the house. It has a different telephone number from the private house and it also means I can shut the door on it at the weekend.

“A new brief arrives” what are the first three things you do?

These usually arrive by email these days.

1 Return an email requesting further info or call the client to briefly talk through the possible commission.

2 Email through an estimate, outlining costs and commission details/timings/availability etc

3 Wait for an email back! Chase it if nothing is heard after a week.

What do you do when you get designers block?

Try to move onto another commission if time allows. Walk the dog to get away from the computer and get some fresh air. If time allows finish for the day and make a fresh start in the morning with a clear mind.... hopefully.

Working nationally and internationally, do you find you sometimes have to make alterations to your designs to make them more communicative?

This happens to be the cultural things. I work extensively for US clients these days. If it's figurative work for example, you have to be aware of fashion trends over there which are subtlety different from the UK. If questions arise the designers/clients are alway happy to advise/help out as both they and I want to get the job right! They are usually very aware of these details too.

Worst/ best job within the industry you have had? And Why?

Worst job was my first and only time as an employee. Illustration nuts and bolts became tedious after 6 months on poor pay. At 12 months I parted company at the request of the boss. Even after the fall out, I freelanced for him at a later date. Business is business! ;-)

Best job - Working for Mini USA over the last 2 years, and presently. Totally in my comfort zone illustrating Mini Coopers, client loves the work and the pay is exceptional, even in the current climate. The work combines all my strongest abilities - technical subjects, figurative work - and humour.

How did you become an international illustrator? Was it through an agency?

I became international by advertising in a USA source book (Workbook) and also bough space on illustration directory sites such as ispot, folioplanet, Altpick etc. I am not with an agent.

Where do you stand on agency’s/ no agency’s for illustrators?

They are good for young illustrators starting out in the business. They can spot talent, nurture it and advise on how to develop it further. Some illustrators stay with agents through their career, and are happy having an agent run the commissions for them.

Some don't use agents. I personally do not need them, and prefer to work on my own merit. I also don't think they earn the cut they take from illustrators which can be up to 35% +. I have worked too hard over the years to allow someone else to take a cut for just sitting on the phone and chatting to clients when I can do all this myself. These days, with the internet being such a powerful tool, an illustrator can promote quite easily without an agent, although in the early days the inexperience could be an issue!

How accurate are your roughs.

Briefs are written initially - and agreed.

Accurate line drawings are supplied, and then amended if needed.

Final illustrations are supplied from these line very accurate drawings.

Everything needs to be agreed at each stage - so that there is no room for error.

The standard of your illustrations is very high no matter which media it is in. Has this come from experience with your techniques?

The key to good illustration is the 'attention to detail'.

Attention to detail is:

Understanding the brief correctly.

Adding the ideas/touches during the thought process to expand on the clients brief.

Ensuring that the illustration is to the right quality and style as requested.

What’s the last book you read?

Hah. Never have time to read - I'm too slow a reader. I'll either flick through magazines or surf the internet for things of interest.

Is it difficult for you to be critical of your own work sometimes?

No - I'm nearly always critical. You can always improve on anything you have created.

Do you find collaborating easier or exciting?

I only collaborate with the designers while working on the commission. Apart from that I'm on my own. Nature of the job.

Do you think that having a distinctive and progressive style is important, as apposed to an ever-changing style?

I think that distinctive and progressive is the best way to be. Slowly develop your style over the years - keep a lookout as to what's going on and adapt. If you change you style too often no one will know who you are, and the clients may get confused too. Possibly!

What two pieces of advice would you give me about the industry and when I leave?

Learn as much as possible from as many people as possible. Be an info sponge. Use this information to strengthen your own experiences and develop your own career moves into the direction you want to go.

Stay optimistic and work hard.

:)

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