Minx Creative

Roz Nazerian – New Business / Press

Tower of London: Illustrated Print Campaign

As a Creative Director for Minx Creative, you are prone to see all styles of illustration. How do you feel the landscape of commissioning illustration is changing and where do you see it going in 2014?

I’d say the landscape of commissioning illustration has changed more so in the last 5 years. Opportunities and varying platforms available via technology/devices, blogs, events/exhibitions, social media etc. have helped established and emerging illustrators to be super adaptive with the changing landscape; we are marketed by the individual (or collective) illustrator on a daily basis via varying channels and I don’t expect that to change in 2014.
 

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What is the most effective way for illustrators to submit their work to you at Minx Creative?

We’ve always loved receiving hard copies of work. Prints, mini-folios, posters, a set of postcards etc. It’s how we like to look at work and particularly on an introductory basis; we move away from our desks and give it our full attention.

Having said that, the bulk of submissions/contact/introduction made to us is via email — this works for the studio too.

What are the three key elements that you look for in an illustrator that helps to make the commissioning decision for you?

These are the three most common elements currently:

Fit (to the brief/style, our studio and our client)
Availability and commitment
Budget

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What are the mistakes that illustrators can make in submitting their work?

Other than the obvious (large file sizes, generic salutation/email etc.), the big thought here is representation. Whatever the route (via an agent, through personal channels etc.), how you are represented is paramount. The work may well be on display and distributed to many, however for us, we tend to look out for the personality/identity equally as much.

How do you go about sourcing illustrators for commissions?

Our main routes to commissioning currently are:

  • In-house
  • Illustrators that we know/have worked with in the past.
  • New illustrators who have approached us, have been recommended or we’ve met through events/exhibitions/social media.
  • Online channels (blogs, social media etc.).
  • Agencies.

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How important is an illustrators self initiated work to your decision making upon an illustrator?

Totally important. Sometimes it opens the initial line of introduction for us by simply visiting an online shop, attending craft/affordable art fairs/exhibitions or reading a tweet about a new print. We do it here (time permitting), and try to balance out our folio with both commercial and self-initiated – it’s a great way to put across our mix of personalities and our studio’s story at that point in time.

How do you feel the artist and commissioners relationship works best?

Open communication, listening to ideas, sharing, feedback, collaborating – it’s part of the process to nail the brief as well as enjoy the work we’re all doing on the project. We have fun along the way, it’s a cliché but it works.


7th March 2014
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