Hanna Melin created the poster image for Crown Estates competition for architects, “Future Retail”.
Here is an example of how we might work as an artists agent or illustration agency:
Negotiate costs and agree with everyone.
Negotiate timetable and agree with everyone.
Offer reassurance to clients regarding the represented artist that they are thinking of working with. Give reassurance re delivery dates and final quality of work. An advertising agency has a huge responsibility to their client. And will ofter take a huge risk by introducing their valued client and associating their product with an up and coming artist or illustrator, who shows great originally and uniqueness in their artwork, but who they have no experience of working with. By working with an art agent who has a great deal of experience working with sometimes slightly unpredictable artists, they will have the confidence to take the risk.
We also offer reassurance and encouragement to the artist illustrator regarding all aspects of their work. Offer creative direction only when it is in response to a clients comment and when we think it needs to be stressed and do everything possible to help which has included some unusual tasks in the past.
Projects may start with an initial conference call briefing. Or it may be that the client is happy to deliver a written brief. Ideally the creatives will speak or email directly. Although from my experience the agency art producer likes to have control of their creatives if that is possible.
The most important thing is that the artist or illustrator understands the creative direction and the art direction and ideally has direct communication with the creative. An artist or illustrator needs a crystal clear brief in the beginning, before they start. Do you have a clear understand of what the creatives want? Do you know which concept they would like you to work on first? do you know the final output sizes file format etc.
Normally the Art Producer at the agency handles the work flow their end and we would handle the work flow from our end.
That way we always know what is the greatest priority and this information can be communicated along the line in the most effective way. We also know how art production is going and can handle client expectations without putting the artist or artists under unnecessary pressure. Often there will be several concepts within a large advertising campaign.
We are happy to copy artists and illustrators in on all of my emails if required, but there will be hundreds and it will infect your brain with nonsense, when you could be distilling great art. Initially you may feel like being included, because I understand that there may be an element of letting go from your side. In fact sharing and letting go is something we all have to learn to do and when we do things start getting interesting and the project that can realised are far greater.
The only thing that must not happen! is that a direct communication happens with client and artist without our knowledge. If this happens it will undermine our hard work and will put the project at risk, because we are on the hill looking down at the craziness and have the big picture.
We will obviously pass on art direction and comments immediately and will delivery artwork that is passed on to us as soon as possible or at the best time for improved and speedy work flow.
A final thought as this is a bit random and out of the blue. Sometimes the big fish come out of the blue.
This short film (above) gives a glimpse into the life of Olivia Wise one of the artist being promoted my Private View artists agency. Here is the script of the audio recording, which was recoded by breaking apart an analogue phone and attaching a speaker jack, which was fed into a sound mixer for my audio in. The ear piece for Olivia’s audio in was placed in a sound proofed draw, with a separate lead to the mixer.
As you we read or hear if you watch the short film, an artists agent needs to have an open mind and an ability to spot the long term potential of an idea. Olivia mentions pole dancing as a creative concept and this has purposely been included, because in advertising you are always looking for something new and with a shock factor. So when ready, I imagine this idea may be adapted to promote a product to the mass market. In a similar way to tattoos now appearing in main stream advertising.
I think the strawberry will be ready before the cherry. Don’t take it out yet, get the sledge ready, because you have to keep it in there, it’s got to be really cold.
I think the last time we spoke was when we worked on that Guardian job together. We just need to introduce your work to more people. What was your day like? I went to bed at 4am, woke up at 2, had breakfast. How did you get into this habit? No distractions at night, I started doing it when I was little though, because I was terrified of the dark.
It is very much Autumn here now (audio recorded Autumn 2016) and all of the leaves have changed colour. California is burning, we are in a drought. It’s about 6 to 8 hour drive from LA, north. I am right next to San Francisco.
You wouldn’t use images of me pole dancing. I think it is an interesting angle and it’s not something we should exclude. Do people know you do this? Pole dancing is still in this country a bit risky, the mums and the wives would be horrified with making reference to it, there is this kind of cross over, because there is a younger generation that are looking at it in terms of physically you’ve got to be really fit, which is a cool thing. Do you know what I am trying to say? I do. Where do you think it fits? In part they started to incorporate pole in the circus and I think that contributed to its popularity.
So what have you been working on today? Working on a logo, just getting started, I haven’t started yet, I’ve been procrastinating. Because you are working on design projects you can imagine how the illustration is going to be used. I know you have been working on developing some pictures for this chocolate bar wrapper that we are working on. The nice thing about this project is that we can take a risk. I really like the bathers image and actually as a painting there is possibly even more in it that the lion image. It does demonstrate what I was talking about. You have put the ring master on the lions tongue and there is a question there, you are looking at something slightly differently, the scale and colours make it really stand out. I really like the lip image. The lip image works for me because of the chocolate.
I really want to get across the painting to people, because I just see you as a painter really. Not enough people are aware of you and what you are doing, the portrait work you do is really strong, but also I really like the way you add other elements to it. I think your portfolio is looking really good now.