A lecture by visiting practising illustrator and artist based in Huddersfield, Peter O'Toole.
Peter was a student at the University of Huddersfield and graduated in 2006. He originally created a number of magazines whilst at University and the successful publication of these online, helped him to broaden his experience and go on to get jobs. He explained the need for experience, in order to get future work; and yet there is a Catch-22 syndrome which applies where it is not possible to get a job, - without experience. The original magazines created at University were digital, and were further legitimised by others joining the editorial team that were based outside the University, and in fact throughout the rest of the world.
The background that Peter O'Toole articulated as his early beginnings, was hard as an illustrator. Working originally with music 'Rappers' from the United States he was able to get to interview them, and put both the interviews and also his own unique artwork into the magazines that he was creating. This provided excellent publicity for his artworks but also helped him to develop interview techniques too.
Following from University he launched, together with a fellow student and commercial partner, the company "Fresh Kids", also based in Huddersfield. The music events that he described, and subsequently publicised, started to get very popular. He later moved with his partner in business to the "Bates Mill" complex in Huddersfield which has provided a base in the nearby locality since 2010, but they decided to go it alone after the move.
At this time he then became a freelance illustrator, -
Peter explained that he felt that the "all or nothing" approach to taking on work has been the best way for him to take on business and increase his market share in the particular field which he is interested in. He was keen to point out that sometimes, it may take three or four years of time to pass, from that when the original contacts that he made at one level, turn into positive fee paying leads, and come back to make a meaningful commercial engagement that he can take forward to create artwork and illustrations with.
Going back immediately to the launch of the business with his partner in "Fresh Kids", he described how they set up a glossy brochure, at quite a large expense, based on all the 'selected best parts' of the previous work that they had done whilst at University. This was printed at a very expensive rate, however once this hard-copy glossy was able to be seen by potential customers, the work started to pour in.
At this time also, he was conscious that the creation of flyers, helped to establish a foothold of his image as an artist and illustrator independently.
Peter explained that it is all about the effort that you put in to work, that is directly proportional to how you get work given to you later. In other words you only get the work depending on how much effort you put into it in the first place!
Peter seemed to target specific clients very well, rather than assume they would just come, or let clients approach him directly!
In the case of the brand Adidas, securing this account was a real milestone for him, but there are many others that are less known, like perhaps Addict Clothing for instance, or Computer Arts, and Microdot.
Much of the original network of contacts for these accounts he made originally at University, and some individuals have gone on to become top company illustrators working in the United States, et cetera. - Peter explained the importance to keep in touch with them as much as possible, by various contact channels such as simple ones, like sending a birthday card, or sending a Christmas card, et cetera.
By taking a chance, going for random jobs, etc, but also, even jobs that you may not think will go to press, these help to establish you as an individual.
An example of this might be Durex, who paid Peter £400 for two days work which never actually came off and not printed; but nevertheless, he was fully paid for it, and so this brand appears on his customer list!
Peter also has an agent that helped him to get work, especially useful in the United States. See the website www.Shannonassociates.com/portfolio/artist/Peter OToole.
By setting up a self initiated piece of work on Instagram, a painting of a bookshelf of illustrated training shoes, this was spotted by an Adidas rep. and as a result he now gets regular work from that brand. He was able to turn certain works out in response within a few days, which makes it particularly useful and interesting for large brand businesses.
- This is in contrast to perhaps the turnaround time of an "fine artist" who may take a couple of weeks or even months in order to turn the commission around and so the type of business that they work towards is very different.
Often, particularly with fashion brands, it may take a year or so the stuff to be published. So secrecy is absolutely vital when working with these accounts.
For example, when Adidas created a book based upon a particular collector of their shoes (based in Germany), the person called 'Quotes Collection', (who not only collected the Adidas branded shoes but also retained a huge amount of information about the trainers for the past few decades); Peter and Quotes worked on this collaborative venture together for over a year and as a subsequent result, Adidas published the book with both the collectors trainers and Peter's illustrations within it.
Another recent really successful piece of work, is the Clarks' Footwear brand, and their 'Desert Boot' poster which he illustrated for them for national release. Peter describes this as a great piece of work.
With regards to getting agencies, it is usual for the agency to approach you as an independent illustrator, rather than the other way around. So you have to keep producing drawings illustrations and paintings, and post only the quality items that you are particularly happy with, to your website.
In any event, if an agency does approach you, do not sign an exclusivity agreement under any circumstances; - Especially important, if you already have your own customers and an existing sales channel to them.
Peter underlined the importance of keeping an updated portfolio and web presence all of the time. This is vital.
Furthermore he reminded the group never to undersell yourselves, because it is the value of the artwork that is important to the customer, not necessarily your time that you have put into creating it. Therefore pricing should be based exclusively on value as to where the artwork will be used in a commercial sense.
Peter underlined again the importance of having self initiated projects which keep up your own passion for illustration, and also keep you illustrating different things that you come across in daily life. This also assists with diversity in your work, which is essential too.
Your ability to adapt styles and themes is just as important as your own inherent skills of recording and drawing.
Your own portfolio must demonstrate all the different styles and genres in order to be able to engage with any work from approach prospective client.
Your website is effectively your shop window. As such, you should put all of your work into some sort of portfolio of this nature. Never put junk on social media or your website. It is a fine line that needs to be trodden, but whatever you put into the public domain has to be professional and it must be current!. If you haven't uploaded anything for a few months then it is unlikely that you will get any hits from agency staff or prospective clients looking for illustrators. With regards to social media, try to keep people guessing a little bit and keep them at arm's length with regards to what you are planning to do. For example "something is about to happen at such and such a place" is far better than telling potential clients that something has already happened. It provides a hook and an alumina to keep people interested in going back to visit your site again and again.
If you do use social media put photographs up that inspire you and those that may inspire others. Choose what is relevant. If it is personal, then it has to be professional too. An example of Peter's flyer was provided which was a postcard sized perforated set of a series of 10 or so fold out contact illustrations.
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