One of Advocate’s freelance illustrators Czes Pachela has let us know about this fantastic programme which allows you to paint digitally like you would when painting with oil. It is called ArtRage, and is an easy to use stylish painting package which can be used on Windows, Mac OS X and iPads; this is fantastic if you are out and about and want to paint on the go! If you want to find out more about this product click here to visit their website where you can watch a demo and find out about all the services they offer.
Posts Tagged ‘painting’
Walking through the door at Advocate, I had a very limited knowledge of how a successful agency is run – or indeed how much organisation goes into maintaining that success. However, the friendly and professional staff have been extremely accommodating in guiding me through working in an agency environment. It is through their professionalism that I have gained an invaluable insight into the business aspect of art.
I feel very fortunate to have been given this fantastic opportunity to work with such a great group of people in a creative workplace. I am looking forward to taking the lessons I have learnt with me in the future as I progress with my artistic career.
Thank you once again to all at Advocate Art and I wish you all the best in the future!
Top: Times Square Illumination
Left: Big Ben
Right: St Paul’s Cathedral
Advocate Art are proud to be representing Susan Frank; an exceptionally talented fine artist who creates landscape and still life studies. Her images are beautifully painted, capturing the atmosphere of the moment - read on to find out more about her and the way she approaches her work. To see more of her work on the Advocate website click here.
“I was born in New York, and spent most of my childhood in the small City of Kingston, on the Hudson River near the Catskill Mountains.
I moved to Los Angeles, California at 19, to escape the cold winters. I spent eleven years in California before moving to Houston, Texas, and then to Colorado where I now reside.
I attended art classes at the University of Houston, and the Glassel School of Art in Texas, and continued taking classes at the Art Students League of Denver for two years upon arriving in Colorado. Mostly I read a lot of art technique books and practice as much as possible.
My artwork is displayed in several corporate collections in Colorado, including Cable Labs in Louisville, CO, Cisco Systems in Denver and Boulder, CO, and Great West Life Insurance in Denver.
I share a 1500 sq ft town home with my dog (John Brown), and two cats (Lily and Agatha). I enjoy city life, but I truly love life in the countryside. My current home is in a fairly rural area, surrounded by ranchers (cows from the neighboring ranch have wandered into the park in front of my home and coyotes are frequent visitors), open space trails, mountains, and just enough city life close by to make it all work well.
Spending long days creating art in my studio is my idea of pure bliss.
My favorite art book is “Composition of Outdoor Landscape” by Edgar Payne. My approach to my own artwork is to plan each design with preliminary sketches, but then let go and feel confident, once the real execution of the artwork begins; …….allow for surprises in the process, and try to keep a good sense or feeling about when to end the piece. It’s never the same adventure twice.”
Advocate Art illustration agency have got a lovely big advert in the October issue of Greetings Today. The ad includes thumbnails of some of our best greeting card illustrators and details of our location at the Spring Fair; we will be in the Art Section at stand 4B 109. To see more of our fantastic artist and illustrators work on the Advocate website click here. We also have a new feature that allows you to download the greeting card portfolio (containing work from over 100 of our best illustrators) from our home page, click here to download it.
Advocate’s freelance illustrator Helen Poole has recently set up a new blog and website with all her fab illustrations, below is a screen shot of her page and it looks great! She has even featured Advocate Art and added a link to our website on her page; click here to see more of Helen’s work on the Advocate website. She also sent us this lovely big up:
“I pay all the bills through the work I get from you!! So grateful for all that you do – really am!! You will feature heavily on my blog and on my website!”
Advocate illustration agency are extememly proud to represent our fabulous new dynamic photographer Nyc Gapp. Nyc has a passion for photographing landscapes and a real talent for highlighting the essence of the image. We can see Nyc’s work looking great on posters and greeting cards; check out his great work below and read his bio to find our more about him.
“I’ve always loved to create, so getting my hands on dad’s Kodak Folding Brownie when I was a kid was an exciting prospect. It made me realise I could take pictures much quicker than I could ever paint or draw them – that suited my zealous desire.
Ok, I’m not so young anymore, but I’ve packed a few things into those bill-paying years, including: air crew, management consultant, marketing, sales, promotions, IT, fine art dealer/gallery owner, wedding & portrait photography, carpentry & building, farm work, scuba instructor, ski instructor and a DJ. Oh, and I’ve done a lot more things just for fun!
Naturally, I’d like to think this eclecticism adds a positive dimension to my photography, to the way I see the world and interact with it. I’m super fascinated by the way things look: visually, almost anything and everything interests me. Sometimes I think I might be too engaged; it’s not OCD, but you could catch me straightening pictures on your wall someday.
I’m truly enlivened by my return to professional photography, as it allows me to really express and create, and to provide solutions; something that I find highly rewarding. I relish the challenge of innovation, to identify, fundamentally what is required and to deliver results that exceed expectations.”
Edward Burns, the founder of Advocate Art illustration agency explains how we package work from artists and illustrators into a portfolio that is in sync with industry needs. Also the importance of samples, why some images are chosen for your portfolio and some aren’t and what artbuyers look for. If you are a freelance illustrator then read on to perhaps gain some useful tips for yourself.
“When work is first submitted to us we can see pretty much straight away where we can place it commercially.
It’s important that this commercial vision or creative direction is shared with the artist and they are fully on board with it before we start marketing their work. It has to be a shared vision, or else the artists may be stuck doing a style that they don’t enjoy or go off in a different direction stylistically and lose the commerciality we first saw. Having the opportunity to meet and discuss what we see in the work and explain this to the artist is important, we call it “packaging with their permission”.
Work is presented just like a product is packaged, easy to understand, the contents are evident, what you see is what you get and the features are highlighted. We want it to say “this is John Smith! This is what he does, isn’t it great!” We package the work or images into a physical and online folio as well as numerous portals, adverts and marketing material.
The aim is to present the artist’s work in a way that they agree shows them in the most commercial light and is also in the same direction they are going creatively.
In our experience when meeting artbuyers (we meet on average 500 different art buyers between us a year) they are looking for continuity (you can do things over), colour understanding, (co-ordinating colours and complementary colours), characterization (candid, clever poses), a design element (decorative elements, added value), relevant to the age group (the style and characters match the age of the characters shown which in turn match the target audience), matches the rest of your folio, ahead of trend or on trend and most importantly an application (the work has a use).
The work must have an application i.e. be more than “nice” and “well done”, we are a commercial agency so it boils down to application. The work must either on its own be usable or be able to inspire a commission. If you are an illustrator this is completely relevant, but much less so if you are an artist who we are more likely to find an application for their work than the other way round. An illustrator may produce a nice image of a dog on a rug for example but what would it be for? Can it carry a narrative for a children’s book or is it decorative enough to work as a design for a product? As Agents, just like you see in the cartoons, we have to look at work with dollar signs in our eyes- we want to be blinded by them!
The thumbnails we select from an artist to go on material and the main artist site are key indicators to how we we package the artist’s work. They are the style setters, at a glance this is what the artbuyer will see in the rest of the artist’s folio. This may sound obvious but so often I see thumbnails that simply don’t relate, how frustrating that must be when you are searching for style.
Portfolios need to keep growing into this agreed direction, hopefully incorporating any subject matter commonly asked for by art directors and contain unpublished work. We brief artists speculatively on filling these gaps in advance of being asked. The most ideal way to achieve a rounded folio is with real paid commissions, if a client thinks an artist may have the ability to do something but they can’t see it from their folio they may ask for a sample.
Art directors often need to show their marketing department or the author (who perhaps have less of a creative eye) an example from an artist folio, you are not going to convince these people you are the best person for a jungle book by showing a train sample, obviously. So when an artist is asked for a sample, even if it is free, it is important to take the opportunity. The Artbuyer will be selling you, fighting your corner if you like, you need to give them the best chance you can.”
We have recently added a new feature to the home page of the Advocate Art website. You can now download the greetings card folio from the home page, this PDF document contains over 100 style sheets of all our top greeting card and seasonal designers and illustrators. It is a great commissioning guide and can also help you see the different styles and navigate to specific artists on the main site. The download button is located on the left hand side of the screen (see demonstration below) and there are two examples of what the style sheets look like. We hope this will be a really useful feature allowing you to look at all of Advocate’s wonderful artists at once!
Advocate Art are very excited to announce another new artist to the team. Michael Harvey paints these beautiful harbour scenes using bold colours and shapes. They will look great in the Advocate gallery and we also think they will make fab posters and arty greeting cards for birthdays and thank you’s. Read his biography below.
“I was born into what can only be described as a bohemian environment in Hampstead, and quickly dispatched across London to Holland Park to stay with my great uncle Bernard Partridge KG, cartoonist, an artistic environment and one that eventually lead via a course in typography at the Central to advertising.
As an art director at JWT, I was for years charged with the artistic endeavour of making sure that the population of the UK ate their ‘sunshine breakfast’ every morning. Way before the admirable mac, we had to draw continuity frames for TV storyboards and ads, plus layout type for hot metal setting. Having spent many years dedicated to fast moving consumer goods, I moved to equestrian painting, magnificent stallions like Troy, The Minstrel, and Shergar among many. This lead to a commission by the Royal Family of Dubai, to paint 4 of the Maktoum family’s horses to be presented as a limited edition print to the their guests at Longchamp. The original hangs in the Palace in Dubai.
Cornwall has become a cliché for the art establishment, the light, the unadulterated colour and texture, and true, if it stops raining for long enough you can spot these ethereal elements. Once all that has ‘soaked in’ you are still faced with that famous blank canvas, but with additional artistic endeavour from Marc Chagall, Alan Bennett, The Stones, Lee Ritnour, Gillian Welch, Randy Newman, Miles Davis, and importantly my miniature Schnautzer, Wizz, we will turn out a good painting in the studio today.”
Advocate’s Norwich based illustrator Matt Robertson was recently shortlisted for the Waterstone’s ‘Picture This’ illustration competition to illustrate Michael Morpurgo’s version of Beauty and the Beast. Although Matt didn’t win we are delighted that he got so far in the competition! Matt has recently started a Masters in Illustration at Anglia Ruskin University so we wish him all the best and look forward to seeing a lot more from him in the future. Below is the newspaper article featuring Matt.
“Matt Robertson’s drawings of Beauty and the Beast were picked from hundreds of entries to feature in Michael Morpurgo’s book. The 29-year-old, who lives in Rosebery Road said: “I heard about the competition through a friend. The closing date for entries was in June and I found out I was through in mid-July. It’s a lot of work and it’s a lot to deal with at the moment as my dad died last week, so it’s a hard time to do this.”
The seven finalists now have to provide full colour artwork for two more pages and sketches for the remainder of the book.
As Mr Robertson did not find out about the Picture This competition, which is run by Waterstone’s, until after it had launched, he had just two weeks to create and submit his drawings. He made three drawings of Beauty, the Beast and Beauty’s father using brush pens and watercolours.
He said: “I wanted to give it a Sixties feel. I’m a big fan of Mad Men and thought it would be quite cool to put the beast in a blue suit.
“I did loads of drawings and chose from the best. So much work goes behind each picture.
“I wasn’t very pleased with them and when they phoned me to tell me I was shortlisted I was surprised.”
Mr Robertson was inspired by the illustrator David Roberts, who focuses on time periods such as putting Rapunzel into the Seventies. He also took inspiration from Sixties cartoons. Mr Robertson, who works part time as a barister, plans to go to Anglia Ruskin university this year to study an MA in Children’s book illustration. Art runs in the family as his dad was a designer and his brother is a painter.
He said: “It would be nice to win. It’s difficult and the competition is very high.
“Everyone’s work is very different and I don’t know what the judges are looking for but it’s good for my personal career.”
The winner will be announced in October. They will receive a £6,000 contract and see their work illustrate Michael Morpurgo’s words when the book is published next year.”
Here at Advocate-Art we are excited to be representing Michael Italiaander, an extremely talented illustrator and portrait artist. He is a London born artist with innovative ideas in painting and illustration. Read on to find out more, and if you’d like to see more of Michael’s work on the Advocate website click here.
“I grew up in the east of London, I was printing and drawing from really early, it is of course a natural gift.
I eventually went to Art College and then spent most of my years as an art director in advertising and then as a creative director. This gave an advantage of becoming prolific in ideas, which has always been most useful in painting and illustration. I have worked in the royal yacht club, was commissioned to produce a very large oil of the Britannia 1. I also have a portrait of prince Edward in the prince collection in Buckingham palace; I can produce good likenesses!
My artwork is realistic and slightly impressionistic.”