the john lyon school visual artists' career guide 2016

careerguide

Visual Artists’

2016

The John Lyon School

ContentsArchitecture

Creative DirectionWeb & Graphic Design

AdvertisingVisual Resarch

Event Photography3D DesignFine Art

Fashion DesignTheatre Design

Immersive EventsMake-Up Design

Film DirectionEditing for TV

Welcome to The John Lyon School Visual Artist’s Career Guide, launched this year to coincide with a series of visits and talks from creative professionals under the heading of Creative Careers Week.

With this guide it is our aim firstly to promote the visual arts as a career choice. We believe that the study of art and design can provide a committed student with access to an impressive range of options, and it is our intention to provide a realistic and detailed insight into exactly what these options can entail.

As artists and designers we are fortunate to be based in London, the centre of the UK and an internationally renowned centre of creativity. Within this vibrant, dynamic city it is possible to discover and explore some of the world’s leading museums and galleries in the fields of art, craft and design. Across the realms of advertising, architecture, fashion, film or publishing to name but a few, the UK and its creative industries remain at the forefront, pushing the boundaries of what is possible.

At The John Lyon School we teach the boys a number of disciplines within the visual arts, from drawing and painting to animation and film making. The nature of the UK’s creative industries is such that individuals from different creative specialisms are often required to ‘rub shoulders’ with each other. The resulting environment is perhaps responsible for the cross-fertilisation of ideas and blurring of boundaries that make the UK such a rewarding place to be professionally creative. We try to prepare the boys for this with open style studios where students of all ages work together.

The UK creative industries were worth a record £76.9 billion to the UK economy in 2013, after growing by almost 10 per cent year on year. Official statistics from the Department of Culture, Media and Sport also show the creative industries made an economic contribution equivalent to £8.8m per hour of Gross Value Added or £146,000 a minute.

All boys at The John Lyon School study art from year 7 through to year 9. It is at the end of year 9 that John Lyon boys make their GCSE option choices. It is our intention to encourage any and all boys who are passionate about the visual arts to consider taking it as a GCSE course. The skills taught in art at GCSE level require a combination of practical finesse, creative thinking and critical awareness, allowing our students to make considered decisions in a unique and exciting manner.

We hope that you find this guide informative and helpful in exploring the options that a visual arts education can support. Please contact the Art Department should you have any questions.

Ms. Lorna HopeHead of ArtThe John Lyon School

A Career in Art & DesignIntroduction by Marion Harper John Lyon School Careers Advisor

Visual Arts is a vibrant sector, sometimes overlooked, that can act as a feeder to other industries such as advertising, games industry, interactive media, design, music and film publishing. The sector covers museums, galleries, arts fairs, studios, individual artists, festivals and education bodies, to name but a few. You will find many people in this industry are freelance and the opportunities for a rewarding and professional career are wide ranging.

Creative Economy Employment (1997 – 2013)

• 2.62m jobs were in the Creative Economy in 2013, 1 in 12 UK jobs.

• Employment within the Creative Economy grew by 66 thousand jobs (2.6%) between 2012 and 2013, a higher rate than for the UK Economy as a whole (1.6%).

• Between 1997 and 2013, employment in the Creative Economy has increased from 1.81m jobs to 2.62m jobs. This was equivalent to a rise of 2.3 per cent each year, around four times greater than the 0.6 per cent increase each year in the number of jobs in the UK Economy.

Official Statistics from the Department for Culture Media and Sport (Published January 2015)

As a careers advisor I provide information, advice and guidance to help students make realistic choices about their future. I see students individually and in groups and we can discuss GCSE and A Level options, university courses and career choices. I help identify all the available options and then explore in more detail the next steps the student has to take to make it all happen.

How to Make Career Decisions

We all make hundreds of decisions every day, some more important than others and choices about careers and the future can seem overwhelming. To help students ensure they make the best decision for themselves they need the ability to question and test their motivations and plans. When interviewing a student a great start for any young person is in understanding their own interests and self-awareness. What strengths, aptitudes and values do they have and can they relate these to possible career paths. When making career decisions it is important to have a plan of action with SMART goals.

How to: Set SMART Goals• Step 1: Make it Specific.

What do you want to achieve?

• Step 2: Make it Measurable.Set a timeline for your goal of when you want it to be accomplished.

• Step 3: Action.What steps will you take to achieve it?

• Step 4: Make Your Goal Realistic.For instance, if you are not a swimmer and you hate water, then your goal should not be to: “Swim 500 meters in the next two weeks.” Set a goal that you have an actual chance of achieving.

• Step 5: Make it Time Based.A smart goal should have a deadline. A goal is not a goal if it is not time-bound.

Useful Websites

www.ccs.co.uk Help and advice for your creative career

www.skillset.org Training in the UK Creative industries

www.careersbox.co.uk online careers information and film clips

www.blast.co.uk BBC creative arts website for young people.

www.ccgb.org.uk To promote the professional work of cartoonists

www.nsead.org National Society for Education in Art & Design

Resources: Gareth Hill How to make career decisions; Arts Council England; Department for Culture Media and Sport.


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with Sabine Storp, 50Architect at StorpWeber & UCL Admissions Tutor

Architecture

Does a visual arts education prepare you for the challenge of being creatively unselfish?

My education certainly helped me to develop a creative approach to any challenge. Being able to try to address any subject/client is the main focus of my daily creative approach. Working for employers is often different but you learn soon to adapt and try to make things your own.

Do you feel like the pressure to make the right subject choices at school is justified?

Not necessarily. There is always a way to make your dreams a reality. Sometimes a slightly longer route is helpful. Certainly in architecture there are many false preconceptions of what the right preparation is.

Do you ever find time to think about your future and the direction you are headed in?

There is always little time for thinking ahead. However, it is very important to

plan ahead and set ambitious projects for the future. Somehow this is a lifeline and keeps you dreaming of the projects you would like to do and achieve.

What sort of obstacles did you overcome on the road to where you are today?

When I started to study there were no

Visual Artists’ Career Guide

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university places available. I had to study in a different country. After finishing my degree I decided to do my postgraduate studies in a different creative subject, which was very much like a u-turn. In the end I decided to finish my Architectural studies and became a registered Architect anyway.

What item on your CV seems to impress people most at interview?

Working on many projects abroad during my studies and later in my professional life. During my studies most of these projects had to be funded through scholarships or awards prior to starting, and were based in Developing Countries giving me the opportunity to travel around the world. Abroad I soon had opportunities to lead very large projects, which I would not have achieved from working in the UK and Germany alone.

FACT BOXArchitects design new buildings and the spaces around them. They also work on the restoration and conservation of existing buildings. They manage the construction process, control budgets and deal with planning issues.

Typical starting salaries for Architects in training start at £15-£20k and rise to £26 - £35k.

Fully qualified architects can earn £35 - £80k, and often higher at senior partner or director level.

Salaries vary considerably according to the location, sector and size of the employing organisation. Salaries are normally higher in London.

To become a fully qualified architect you must study at degree level for 5 years and then complete 2 years ‘professional experience’.


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Creative Direction

with Thomas O Quinn, 44Creative Director of Men’s Health Magazine

Does a visual arts education prepare you for the challenge of being creatively unselfish and in some ways letting go of your work?

Not until the last year. I didn’t learn how to design for others until I got into the real world. Art College was about learning the fundamentals of colour theory, design, illustration, and advertising. It was all very self-indulgent until we had a class project for real-world clients.

How has your style evolved over the years? Were any changes deliberate or perhaps due to the influence of your surroundings including colleagues?

I have become more appreciative of modular grids and a “less is more” aesthetic. When I was in art college in the 90s, Ray Gun magazine was popular and computer design was exploding...

Leading to an “anything goes” and “break the rules” ideology. Now I like order, clarity and readability.

Do you feel like the pressure to make the right subject choices at school was justified?


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Coming from a lower-middle-class family, so there was no money for college. I had to take out loans and do it on my own. Divorced parents. A penchant for alternative music, clothes, and crazy 80s hairstyles garnered me few friends in the small town I grew up in. I was a creative kid, but very independent and aware of what was going on in pop culture, fashion and music.


My current title - Creative Director of Men’s Health magazine.

Yes. It costs a lot of money and the things I learned helped me get a graduating portfolio, which then helped me land my first job.


More often now than before, as I am mid-career... So longevity is always a concern! Technology is always changing and with digital design being the new frontier we must constantly learn new skills and update knowledge of software.

FACT BOXCreative directors in publishing typically work with editors to develop concepts for sections and pages.

Individually, the creative director is responsible for the visual look and feel of the entire publication.

Normally, an honours degree is a requirement for immediate entry into an organisation at this level.

Those just starting in publishing will need to spend many years gaining experience before they can progress to this level.

Whilst this role is typically office-based, most creative directors will spend a lot of time at meetings away from their place of work. Creative directors travel a lot because of this and are often required to work whilst travelling.


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Creative Directionwith Neal Lankester, 49

Creative Director


I did an HND which gave me a much more commercially focused portfolio than if I had done a degree, so in my case, yes.

How has your style evolved over the years? Were any changes deliberate or perhaps due to the influence of your surroundings?

My visual style has definitely evolved and life experience has facilitated that over the last 25+ years.

Influences can come from anywhere and I’ve always got my eyes open to everything around me. It’s a way of life rather than a career!


I’m not sure if I would have made the right choices if I wasn’t influenced by

my step father who was in the creative business. He actively encouraged me to explore the creative side of my schooling and it was the best thing that could have happened to me.. I’m not sure where I’d be now if it wasn’t for him...


As a business owner, following on from a career as an employee in marketing, advertising and design, I


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FACT BOX

Creative directors in advertising agencies are like department managers who guide and oversee the responsibilities of copywriters, artists, graphic designers, photographers and other members of the creative team in developing advertisements.

They take the concepts developed with account managers and clients at pitch meetings all the way through to delivery of the final advertisement, monitoring work-flows, budgets and schedules along the way.

think about it all the time!


Mostly understanding how to deal with people and professional situations. Learning to listen and not being too quick to step in with a solution to a problem. Pick your battles and your moments for maximum effect :-)

What item on your CV seems to

impress people most at interview?

Good question. Probably looking at the work on my site and not reading the words on the page. They say that pictures say a thousand words; it seems to work so I’ll keep doing that. It doesn’t hurt for potential employers to see your track record and achievements though, especially if you’re looking to be an employee rather than an employer.


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with Hollie Revell, 28Senior Designer at MRL Agency

Could you identify one or two common myths or misconceptions about the graphic design industry?

People tend to presume that because you’re a designer you can produce great, polished ideas in an instant, but for me it doesn’t always happen that way. Sure, you need to have a certain level of creativity within, and a desire to produce great stuff, and for many of my peers it does appear to come easily, but it’s not the same for every creative. It takes time to find your own process, and you’ve got to stay current and keep your work fresh. I’ve found I need time to look at what other designers are doing, craft a piece of typography to its limit, or marvel over a glorious piece of print every now and then to stay inspired and motivated about what I do.

How early in your education did you begin to think seriously about jobs and making money? Was it early enough?

Once I started doing work placements in my 2nd and 3rd year at university I got a taste for the industry and from there I felt eager to get out there and see what I could do. That was early enough too, it didn’t mean that I was tired of my course or that I wanted a job straight away, but looking back I’m glad I was keen to get into work, it meant I could be really enthusiastic when I got started.

How often is it necessary for you to work with people from outside the creative industries? Do you ever feel there is a lack of respect for or understanding of the skills you have cultivated?

I’m often asked to work directly with clients, which is mostly really rewarding but sometimes can be difficult due to lack of understanding or respect for what I do.

On the flip side some clients can be over the moon with what you’ve produced and value your skills and expertise massively, so it’s swings and roundabouts, it depends on the project too.

It’s easy to become very passionate about a project and when that happens it’s hard to compromise on how it looks and feels,

Graphic Design


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but there are many other aspects which come in to play, most frequently the budget. Sometimes it’s a challenge to achieve what a client wants or what the project needs on a given budget.

Sometimes I feel the industry has become devalued by stock image libraries and crowd sourcing websites. Often the work goes to the lowest bidder, not necessarily the person that is best for the job. But again this often comes down to budget and the amount a client is willing to spend – this happens a lot in our current climate, but it often compromises the quality of creative which is a shame for those who could produce great work or miss out on a job because they weren’t the cheapest, it makes the competition even tougher too.

How important is it for non-freelance visual creatives to maintain a portfolio and/or personal website?

This is extremely important. It’s always difficult to keep yourself organised and on top of your portfolio, but if you can keep it regularly updated and even better make

it digital, you stand a much better chance of getting noticed. It means that people can view your work and what you’re about instantly giving you an edge and making you easily accessible and contactable if a job comes up. It also helps you grow as a creative personally, you learn to curate your work and find out your strengths and what makes you the creative you are.

FACT BOX

Graphic designers work mainly nine-to-five, but deadlines may require working additional hours. Opportunities for graphic designers exist in cities throughout the country, although freelance designers can work from home.

Career development will more than likely require frequent job movement to widen your experience and develop your portfolio.

Employers expect a good knowledge of design software such as Quark, InDesign & Illustrator plus photo-editing software, including Photoshop.


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Web Developmentwith Gareth Williams, 29

Freelance Visual Designer & Front-end Developer

How did the role that visual art played in your life change when you began to pursue it professionally?

When producing work now I have to consider what other people want and need and also how to create within a team. I found the transition of doing work on my own to working in a team hard, throughout education the majority of projects and grades are based on our own personal work. Then when we’re in a commercial job we’re not just isolated individuals anymore, it takes a whole team working together to realise a commercial project. I found it easier the more I did it. I got less and less self-conscious about people seeing my work while it was half finished and how to compromise more on shared ideas.

There was also a big shift in whom the work is for, it wasn’t just for me anymore. There’s people paying me who want something made and I have to balance my creative visions with their needs. This is a challenge, but with perseverance and openness solutions are found.

Even with stresses of working, creating professionally hasn’t changed how much I enjoy creating. If anything I enjoy it more now because I’m in a position where I can create every day.

How does justifying creative decisions to clients and colleagues without an arts background challenge you?

When you produce creative work you go on a journey with the work and you make a lot of internal decisions along the way. I find it helpful to tell the story of this journey to clients, making it engaging by showing early ideas in the form of sketches from throughout the process. It helps them to understand why I’ve made the decisions I have and as a result the changes they suggest are easier to manage.


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Can you remember what sort of advice and career-related support you had as a teenager?

I don’t remember getting much creative career support at school. When I was at university studying Photography however I do recall one distinct lecture from a professional photographer. He advised us that only a couple of people from each year group will get a job specifically as a photographer. That was in the last couple months of the course and stunned us all quite a bit! Looking at what everyone is doing now from my year group though, I can see he was right. Finding work in a creative field can be a challenge. I think it could be made easier with more connections between creative industries and schools. There are a lot of creative jobs out there I’d never heard of as a teenager.

How much of your skill-set do you consider to be self-taught, and how much do you owe to you teachers, lecturers and fellow visual creatives?

I owe different areas of my skills and knowledge to people I’ve encountered across my education and career.

The majority of the technical skill sets I use have been self-taught, I try to learn and practice techniques and skills every week. I taught myself how to code basic HTML and CSS when I was 14, at the time the internet was very young and I had to get out books from the library to learn from. I think there’s never been a better time than now to be interested in creativity, you can learn all sorts of skills and techniques from online resources.

From teachers I learnt how to apply critical, conceptual and psychological thinking in my work. Lecturers were also great for delving into individual concepts and art theory.

From working professionally in teams I have learnt how to work with others on the same creative problems and how to create work that’s commercially viable.

FACT BOXWeb developers design, build and maintain websites and web applications to meet their client’s needs. Jobs can range from creating a staff intranet for an organisation to building a payment system for an online retailer.

Starting salaries for junior roles are between £20 - £24k a year. With experience, this can rise to between £25 - £35k. Lead web developers may earn up to £45k or more a year.

Web tech is constantly evolving and aspiring developers should expect continue training throughout their career in order to keep up to date.

Depending on the job, developers are likely to need a working knowledge of one or more of the following: Java, C#, Perl, PHP, Java-script, ActionScript, Ajax, HTML, XML and Cascading Style Sheets (CSS).


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I work with new clients regularly that are in non-creative fields. There is a perception with new clients that I am an expert in what I do and how I can add value to companies. A lack of

Could you identify one or two common myths or misconceptions about your chosen area of expertise?

A common misconception is that as a visual communications specialist, all I do is pick colours and interesting letters. This misses out the conceptual development, craft, artistic skill set and consulting experience that is a large part of my area of expertise.


After graduation, I realized that the piece about making money to support myself was not emphasized for the majority of my design education training. In retrospect, having more education on for example pricing my work, salary brackets and job opportunities should have been part of the curriculum. In my opinion early focus and thinking about jobs and making money is the key to sustaining a creative occupation.

with Kendra Jacobs -Azevedo, 43Senior Graphic Designer

Graphic Design


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respect is present in instances where people do not feel there should be an applicable fee for the custom work created from the skills I have developed.


A website is an extremely important tool for non-freelance and freelance visual creatives. A portfolio or personal website gives a visual expression of the creative individual through their work. There also are portfolio based websites for creative professionals that can interact, encourage and collaborate with each other. These sites successfully create exposure and build connections which is very important for a visual creative’s career.

Have you ever considered re-training or continuing your studies in some way?

Yes, I have continuously added computer training over the years, based on the project requirements and employment requirements. I am currently looking into the steps needed to continue my studies.

My focus will be to complete my Master’s degree in Graphic Design or in Art Education. I have enjoyed teaching art lessons to teens and in the classroom as a visiting artist.

FACT BOXA single designer’s job may involve managing more than one design brief at a time and allocating the relevant amount of time according to the value of the job.

Designers are required for a huge variety of digital and physical products including websites, advertising, books, magazines, posters, computer games, product packaging, exhibitions and commercial displays or points-of-sale.


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Web &Graphic Design

with Jason Smith, 28Designer at Fiasco Design, Bristol


It became more important. But I don’t think it’s changed too much. I’ve always been excited by creativity and hopefully I will continue to be excited. It’s something that develops with you.

Has it been easy to support yourself as a creative professional? What financial advice would you pass on to someone starting out?

To be blunt it wasn’t easy in the beginning. I worked 4 jobs to try and get the business off the ground. In the early days it was all about persistence and determination. We’ve got to where we are now without one single loan.

My advice would be... Don’t get yourself in debt. If you have a laptop, you’re pretty much half way there. Find a decent working space, maybe share a studio with like-minded friends and try and keep costs down so you can focus on your work. Also, just surround yourself around people you can learn from. And remember it’s all about good work, without ‘good work’ you have nothing.


It’s part of the design process and for me it’s all about trust. As an expert the client should trust your design decision, that’s why they have hired you.

Throughout a project there are various design stages, and these stages are implemented to help the client understand your processes. Good research is also key as well. Spend time finding out as much as you can about your client and their needs.


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Can you remember what sort of advice and career-related support you had as a teenager?

I was pretty much told by my art teachers that I would be a designer rather than an artist. Which was a little confusing at the time, but completely correct. I had a passion for design from around the age of 10, which made certain decisions throughout school a little easier for me to make.

The only support I had was from my art tutors and my parents. My school’s career advice team were shockingly bad, even giving me false information. It’s best to speak to people who have been there themselves.

I went straight to University to study graphic design from sixth form without doing a foundation degree. I was the only student in my year that hadn’t completed a foundation first. Another myth told to me by my career advice liaison.

I owe a lot to my tutors from school. They were the ones who started to help me think like a designer. They introduced me to colour charts, composition, layout, software all of the basics really. They also got me excited about design. However I didn’t really

learn anything in university I didn’t know already. I learnt more from friends and fellow creatives around me.

I have also self-taught a lot throughout my career. I’m continuously learning. You never stop learning, that’s one of the main reasons why I love what I do! Every project is a new challenge.

FACT BOXA web designer creates the visual elements that make up a web page, deciding on layout, colour schemes and text formatting. In smaller operations they may be responsible for the efficient functioning of an entire site.

Many web designers are involved in creating motion graphics and interactive animations for clients.

With experience, you can earn between £25 - £35k or more a year working for an agency. Freelancers set their own hourly rates and often work from home. It is not uncommon for freelancers to pool their contacts and form small independent businesses of their own.


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Advertisingwith Hamish Lloyd-Platt, 30

Freelance Designer at thehamish.com


I have worked in graphic design, web design and now online advertising. My grandmother said that advertising is the devil and that people will simply buy anything you shove in their face. She turns off the sound on adverts on the television when there is a break. I think she misses the point that many of the programs she watches are funded by advertising revenues.

I myself believe people will only buy products that are relevant to them. I actually used to hate advertising too, though now I am on the ‘dark side’ I am getting more and more into it!

Another myth is that perhaps you must ‘know everything’ at work. You might only have to be brilliant in one area which your employer is choosing you for and needs at a specific time. It takes many skills and backgrounds to make a team work together so the main thing to do is put your work in front of the employer and you might get lucky.


I don’t think I really thought about it seriously until I needed to buy a flat and get a mortgage, which happened when I was 28. I was happy working for myself and not earning a great deal – but when I applied for some jobs I realised that you could earn quite a bit more money working in-house, which opened up its own opportunities.


It’s very important – very rarely are clients creative and that’s why they hire you. If they are, they can be tricky to work with as the will want to make their own creative


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decisions and changes. This can sometimes lead to a butting heads together and so isn’t always productive.

For me if someone isn’t willing to pay your going rate, assuming that it’s fair and you have asked around and compared yourself to others with similar skills, that’s usually a sign they are not particularly interested in you or your skills and just want to get the cheapest price. Steer clear!


I think it’s very important, as you should always be thinking of the next job you have and if you don’t have a website people don’t have a reference for the work you do to see whether it fits with the position.

It can take up a great deal of time though and dates very quickly. When you do apply for jobs it helps to have a PDF with work samples which is easier to update send across to the employer.

Have you ever considered re-training or continuing your studies in some way?

I would like to develop my illustrations which it would be great to dedicate a longer amount of time to without a looming deadline. I always try to sneak them into freelance work, so would be great to have more time to spend on a project which you usually get in a college or university environment.

FACT BOXNo advertising campaign is developed from brief to final execution by one person. Being able to form strong working relationships is essential.

Good analytical skills and the ability to communicate your ideas convincingly will be vital.

Agency recruiters will generally look for someone with a degree, yet this can be in almost any area. The industry tends to recruit from a broad range of degree subjects in order to achieve diversity of thinking and ideas.

It is important to have good numeracy, literacy and IT skills whilst at the same time possessing strong interpersonal relationship skills.


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Make-up Designwith Grace McComisky, 25

Special Effects Makeup Artist at Civilised Mess

The integrity and anti-establishment potential of visual art is a source of great inspiration for young artists. Do you ever worry that by using your skills to support yourself and serve the interests of others you have made some sort of moral compromise?

I enjoy creating art and by working in the film and events industries I can earn a living by doing just that. Rather than compromise and take a job at a company I didn’t believe in, I co-founded Civilised Mess with my friends. I think that shows a lot of integrity.

How often do you take a critical look at your practice? Do you continue to refine and develop your skills, or is it more a case of playing to your existing strengths?

I think it’s essential to take a critical approach to your work to see where you can develop further and progress. There is so much to learn and university

for most is just the start. As soon as I finished my degree and started to work with other people in the film industry my skills really started to develop.

There really is no limit to what you can learn and even the most successful people in each industry never stop developing their skills and learning new things. Playing to your strengths is great


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but developing new skills will keep you inspired and widen your employability.

Have you personally ever felt like you took the hard road or gambled by choosing a creative career?

Nothing is easy working in a creative career but I also never find it boring. It’s often a bit of a roller-coaster but I couldn’t imagine doing anything else. A creative career is more than job for most, it’s a life-style, and you need to love it. Being self-employed or freelance is sometimes fiercely competitive but on the flip-side it is intensely motivational working alongside others who love their job as much as you do.

Stay positive and keep busy working on your portfolio when not in work. Employers respect people who show enthusiasm and self-motivation. Also keeping in contact with people you want to work for or with is important.

Did you study at college or university? What are your feelings about that time?

When I was in school I wasn’t 100% clear on what creative job I wanted to get in to. I knew that I wanted to do something, which combined art and theatre in some way but only drew the connection to special effects makeup when at Art College. When my tutor told me about the BA Makeup and Prosthetics at London College of Fashion and I realised this was the perfect job for my interests and skills.

Most people I’ve met in the industry have done a degree or course in makeup and I would recommend this. When I went to university there was only one degree available which was BA Makeup and Prosthetics at London College of Fashion. Now there are lots more courses out there. My degree was great for where I was at that time and set me up very well to start work in a professional work environment.

FACT BOX

A make-up/hair assistant can charge rates of around £200 for a 10-hour day. Make-up designers can charge in the region of £300. These rates are for drama and light entertainment television productions and low-budget feature films.

Rates are negotiable and individuals who are well regarded in the industry are in great demand and are paid well above the rates listed, especially for high-profile productions.


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Theatre Designwith Hannah Sibai, 29

Freelance Theatre Designer at Oscar Mike

Does a visual arts education prepare you for the challenge of sharing your creative vision with others?

Something that we were taught at college was to not be too precious about our work and our ideas. Part of any creative process involves being brave enough to throw away an idea either when someone else isn’t sold on it or it’s not working in that specific context.

I found that at the start of my degree I was encouraged to be free with my designs and experiment with my artistic interests. However, there were always boundaries to be creative within, such as budgetary requirements or a director’s ideas to manage. I found when I started working in the real world it’s still possible to feel creative whilst working within constraints. In fact, taking on board other creatives’ ideas can be very inspiring.


Over the years I have noticed common themes within my work, without knowing from where they were born or what influenced them.

As a visual artist I think that inspiration can come from anywhere and everywhere; a painting hung in a gallery, a photograph on Instagram, an advert on a bus or the back of a cereal packet, creative seeds are constantly being planted. The fast pace of Culture generally can shift our way of seeing and will have an impact on any creative outlet we have. Directors I have worked with have also helped me to evolve my work. It’s the combination of ideas and true collaboration that create the most exciting designs.


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I think young people experience a balancing act of picking subjects that they are naturally good at, subjects they enjoy and subjects perhaps their parents or teacher suggest they should do. I think it’s hard at a young age to

truly know what career path you might like to take, but I believe it is important to pick subjects that will inspire you to make that decision. A subject like Art is broader than some may think. Ultimately it’s your decision at degree level that will have the biggest impact on your future.

Do you ever find time to think about your own future and the direction you are headed in?

Constantly! Being freelance, as soon as one project has finished, you’re looking for the next. Even whilst knee-deep in designing a show I still have to keep the lines of communication open for finding new opportunities. It’s quite a reflective time when I add another design credit to my website - I get to map where I’ve come from and how my work is developing. You also learn a lot of things along the way. Because I design for a lot of different projects I am always working with different people and in different ways. Over the years I get to find out what sort of work

I enjoy the most and what sort of work to avoid in the future.


A year ago I was Art Director on a Kaiser Chiefs music video. I find people are

impressed with that credit because it’s a band people have heard of and therefore perhaps a bit more accessible than theatre! People think that must have been a glamorous experience, but it was pretty cold and a lot of hard work. We were on site at 5.30am in the middle of winter, setting up props in the dark! It was great fun nevertheless!

FACT BOXTheatre Designer is not typically an entry-level position. Those breaking into the field usually start as art department runners, art department assistants or design assistants.

Freelance rates vary so it is best to check current agreed rates with Broadcasting Entertainment Cinematograph and Theatre Union (BECTU) and Producers Alliance for Cinema and Television (PACT).

Rates for feature films and high-end television dramas tend to be higher than those for theatre or low-budget productions.


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Immersive Eventswith Donna Walker, 31

Creative Director at Traces


I’ve always had a passion for the arts, it had always been my hobby, something I did for love not money. However, once I began to pursue it professionally, I realised that sometimes you have to take on jobs which may not be exactly what you want to do, jobs that make you compromise your style or interests, and at first this was difficult. However, if anything, it has made me more passionate about creating things I love. Although I sometimes have to work with briefs and clients that I may not like, it helps me to further myself professionally, and gives me more of a drive to create other things outside of these roles which I do love.


I think the main one is that it’s ‘easy’ or a ‘micky mouse’ career. It’s not. Working in the arts is hard, you have to work extremely hard and sometimes, for not a lot of money. I regularly work 6 -7 days a week, but I absolutely love it. I get a lot of satisfaction out of my job, and I like to think that my work gives others satisfaction also.

Is it ever challenging working with colleagues or clients who do not share your passion and understanding for the visual arts? Do you ever feel there is a lack of respect for the skills you have worked hard to develop?

Totally. My company Traces puts on large scale exhibitions in underused btuildings, and so there is always a lot of work to be done in terms of set building and making sure a site is safe for the general public, for this we employ contractors to work for us. We often get remarks from tradesmen who cant understand what we do, or how it can benefit anyone, we are perceived as ‘dossers’. However, after working with us they soon begin to understand the level of skills we have, and how hard we actually work, and, more often than not, they end up being genuinely impressed and getting tickets to the show.


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How have your goals and aspirations changed since you were in school? What advice would you give to your teenage self?

If I could speak to myself as a teenager, I would definitely tell myself to take absolutely every opportunity that came my way, develop as many skills as possible in order to prepare myself for the future. Take advantage of all the workshops and facilities that I will have during education, as when you leave, it becomes much more difficult to gain access to these kinds of facilities without paying a lot of money. But most importantly, I’d have told myself to take business studies as a subject. I never did this at school, and now, with 2 businesses under my command, I can really see the benefit of having some education in the subject.”

Did you study the visual arts at college or university? What are your feelings about that time?

Yes, I studied Art and Design Interdisciplinary in Leeds College of Art & Design. I thoroughly enjoyed it! It was an incubator for so many great creative minds, and it gave me the freedom to explore the arts widely. I learned a lot during my time at University, both professionally and personally. I’d highly recommend it to anyone thinking of pursuing a career in the arts.

How easy is it to make progress within your specific area of expertise? Is there a conventional route or common ‘way in’ for new graduates?

I got into immersive design almost by accident. When I left University I firstly started my own furniture and spatial

FACT BOXImmersive (or interactive) theatre is a presentational or theatrical form that breaks the ‘fourth wall’ that traditionally separates the performer from the audience both physically and verbally. Performance may happen amidst audience members, and often involves the audience in more active roles.

Immersive plays often take place outside the traditional playhouse setting. Creative directors must be happy to set up office in unusual spots and be flexible.

Creative directors will work closely with the theatrical director and technical team to design and produce a visual accompaniment to each dramatic performance. Immersive theatre on a grand scale is still fairly rare and so creative directors in this niche area may have a wide range of responsibilities and will be required to do some of the physical work themselves.

design company through which I created, marketed and sold my own designs. I’ve exhibited nationally and internationally, had my products published in a variety of design magazines and won a number of prizes, but it was still really difficult to earn enough money to live. So I subsidised this by doing a lot of freelance design work, and in order to afford studio space I co-founded and ran an artists studio where I met loads of great creatives which helped build my professional network. I branched out into theatre design after applying for some freelance work as a set designer/builder for an immersive theatre company called Punchdrunk. This was my first experience of any kind of immersive experience and I fell in love. I decided that this kind of format would be a great way to exhibit designer/makers work, and so I teamed up with a set designer and we formed our company Traces London.

If you were thinking of getting into this kind of work after leaving university, I think the best advice I could give would bte to go and do an internship or volunteer for a company who’s work you love, use this time to develop a strong network, and work your way up. If you want to start something yourself, you need to have a team of people who have experience in the field, and then you can look at applying for arts council funding or other grants to get you started.


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Fashion Designwith Christina Figur Verden, 47Self-employed Fashion Designer


Fashion is not always as creative when it is a profession , because it mostly needs to be commercial. The time you have during education is the time to really experiment and have fun.


You have to be good at drawing to be a fashion designer, it helps but you just need to have good ideas or a vision. Fashion is not just for girls. A lot of very successful designers are men.

How early in your life did you begin to think seriously about your career? When and how did you come to realise a visual arts career was right for you?

I always loved making clothes but did not really think of it as a profession until after my A-levels, it was just what i did. By chance I started a tailoring diploma rather than biology at university, but after that I was certain. A hobby can become a career.


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Absolutely, It is often difficult for people to understand that ideas and creativity is valuable, a skill that needs to be paid for just like accounts, lawyers and doctors. Diverse professions are important, aesthetics and creative solutions are vital to happiness.

How easy is it to make progress within your specific area otf expertise? Is there a conventional route or common ‘way in’ for new graduates?

It is very much up to yourself how you progress in Fashion, there isn’t really a conventional route. You have to be proactive, probably change jobs fairly often to gain new experiences and you are always judged on the previous jobs on your CV.

Internships or any actual work experience is the best way in, unless you manage to get noticed with your degree show.

FACT BOX

Fashion designers work on the design of clothing and fashion ranges. They typically specialise in one area of design, such as sportswear, children’s wear, footwear or accessories.

Depending on their level of responsibility and the company they work for, designers may work to their own brief or be given a brief to work towards, with specifications relating to colour, fabric and budget.

The main areas of work for fashion designers are high street fashion, ready to wear and haute couture.

Experienced designers with larger companies may focus more on the design aspect, with pattern cutters and machinists preparing sample garments. In smaller companies these, and other tasks, may be part of the designer’s role.


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with Seana Redmond, 29Visual Researcher at MarioTestino+


It was the first time that I had to start thinking commercially and really take into consideration what the viewer wants to see. It was also the first time that I really collaborated with like-minded people and therefore truly understanding the importance of working as a team to create a successful outcome.


People seem to view the world of fashion as superficial and fun which it can be at times. However I would say some of the most hard-working and dedicated people I have ever met work in the creative industry. I never imagined how hard it would be to really make your mark in the industry. A very strong work ethic and also a disciplined approach is crucial for any possibility of long term success.


I think ever since I was little, I have wanted to do something creative. I find it complete escapism. My favourite time at school was always art class, particularly during my A-Levels. It was the only subject that I was happy to stay up until the early hours completing.

I would say that the most inspiring time for me was when I did my art foundation. It introduced me to new artists and designers that I had never seen or heard of before. It was also where I began to meet more like-minded people.


I have been lucky enough to only work for people who are passionate and like-minded. Even if our taste is different aesthetically - we still all share the same desire to create something special and memorable be it a campaign, editorial or show.

I have found Instagram to be the most brilliant way to connect with people within the industry. It is the

Visual Research


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perfect way to show the creative industry what you are about instantly. Designers and photographers that I would have only dreamt about meeting now follow me and as a result it makes you feel more connected with like-minded people. I would highly recommend anyone wanted to get into the creative industry to have an Instagram account.


After my art foundation at Chelsea College, I went to the University of Brighton and completed a master’s degree in textiles (specialising in knitwear) with business studies. These were quite possibility the best days of my life so far. I loved meeting people from different disciplines including photography, graphics and fine art. I loved collaborating on projects with people from these disciplines.

In terms of experience, university was brilliant however I did feel like I was starting from scratch when I graduated and began interning. University is now very expensive and was when I was studying. I still think I could have got further in my career by now if I had perhaps gone straight into interning once I had finished my art foundation. Having said that, I will admit I didn’t know what styling was until my second year at university.

My only advice would be there is no wrong or right route. do not feel pressurised to go to university if it doesn’t feel right for you. You can achieve just as much by interning and working straight away.


Before becoming a visual researcher for photographers, stylists and designers, I assisted stylists on photo shoots. This is how I built my client base. I think it is really hard to progress in fashion styling at a high end level. You have to be prepared to do a lot of hours and often unpaid work initially. Even once you do begin to get paid you still work long hours and sometimes 6/7 days a week. That is why it is important to really enjoy the work and the people you will be working with.

The most common way into the industry is by interning and gradually working your way up into a fashion assistant position. A magazine internship or assistant position is a great way to get a good overview of the fashion industry.

My route into visual researching happened when the Fashion Editor at a Vogue began following my Instagram and called me in for a meeting at Vogue to discuss free-lance researching for her editorial shoots. It was a ‘dream come true’ when this moment happened. I still have a very long way to go in what I am doing and every day I am still learning. One has to really believe in themselves and persist to get anyway in such a saturated industry but when it starts to pay off, it really is quite rewarding and exciting.

FACT BOX

Visual researchers provide an image sourcing and curating service for photographers, stylists, designers, art directors, hair and makeup artists across the creative industry.

Services include specific image researching and layouts to a bespoke criteria for editorials, campaigns, fashion collections and special projects.


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Event Photographywith Aakash Pattni, 25

Freelance Photographer at Kaash Photography


Sadly as I pursued photography professionally, I spent less time doing it for personal use. It changed as I focused on visual art that would monetise well, rather than something I enjoy personally. That being said I still enjoy my profession thoroughly.


Pursuing photography as a career does not mean you will become a wedding photographer or fashion photographer (or similar). As an example: I have used my expertise in photography to create photographic experiences that focus on high impact marketing. In essence it is an automated system that creates social awareness and effective engagement for the client - through photos. It is not a dead end career and with the right concept extremely scalable.


This a problem I face a lot, and one of the most difficult aspects to communicate to the client. This often ends with you being undercut in price by a new business who does not know what they are doing. With photography it’s getting worse as technology is making it easier to take photos. But as with any business you must evolve or die.


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Coming towards the end of my time at school, I didn’t do enough to figure out what profession I wanted to be in. My decision was influenced by time constraints, other people and their misconceptions about “dead end professions” such as photography - I ended up studying architecture.


I studied architecture with an open mind, but quickly realised it wasn’t something that resonated with me. For this reason it was incredibly difficult to pass and all I remember is hitting mind blocks at every corner. Coming from a student who scored close to 100% in every submission in Art

at school from GCSE to A-Level, this was extremely disheartening. Architecture is a 7 year course. I left after 3 years to pursue photography.


I speak as a business owner not an employee. The way business is done keeps changing and right now there is a strong start up culture. We have vast amounts of resources to grow our business fast, from mentors to incubators to accelerators. If a graduate is looking to start their own business this seems to be a common route provided they have narrowed down an idea they want to pursue. In the mean time I can not stress how important experience in a work environment is. Get experience and learn how your industry works.

FACT BOXA professional photographer usually works to a brief set by the client or employer.

Examples of image content include wedding, family and baby photographs, fashion, food, architecture and landscapes.

Most professional photographers specialise in one area or subject matter.

Many degree graduates start out as a photographer’s assistant, spending a great deal of time on routine administration and helping out around the studio.


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3D Designwith Chris Soper, 21

Freelance 3D modeller


That the computer does most of the work. I can assure you that the computer is just another tool and, like a paintbrush, if you use the wrong strokes the result isn’t going to be pretty.


I think I really started considering a career in the arts, during my A levels. That is when I began doing a lot of 3D modelling in my spare time and I really enjoyed it, so I just kept at it and now i’m here.


There are certainly challenges that exist when working with clients. Quite often client briefs don’t acknowledge the huge technical challenges involved in creating digital art, so a little bit of negotiation needs to take place. I think the different perspective is useful though, it helps you to think about the work differently and create things that weren’t possible before.


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I don’t think my goals have changed very much, they have certainly become more refined though as I became more familiar with my career path. One bit of advice: don’t specialise too early, develop a broad range of skills.


I studied Computer Animation Arts at Bournemouth University. It was a great experience; it really helped me to reaffirm my career choice and prepared me for the industry.


Typically graduates start out as runners, but a lot of film and games studios run internship programmes which are a great way to get your foot in the door.

FACT BOX

3D modelers create characters and environments for video games and 3D movies as well as images and modeling for websites, graphic designs, animation, film effects, simulations, broadcast design, special effects, characters and props for film, television effects, CD-Rom design, and location-based entertainment.

These multi-talented professionals also create images/models for geologists, architects, scientists, engineers, healthcare agencies, and more.

3D modelers average around £48k per year. Salaries may vary greatly by company, geographic location, experience adn education. For example, a 3D modeler working at a famous studio such as DreamWorks may earn as much as £70k per year, while a modeler working at a smaller company may earn as little as £28k per year.

3D modelers must have advanced maths and computer skills. Other skills may be required depending on where the 3D modeler works. For example, 3D modelers in the film or video game industry must have above average creative and design skills.


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Fine Artwith Grace Adam

Freelance Art Educator at UALDoes a visual arts education prepare you for the challenge of being creatively ‘unselfish’ and in some ways ‘letting go’ of your work?

Yes, not only do you work on your own in an art college, you are encouraged to work with others. Working with others might entail giving and receiving criticism, joint projects, or collaborations with peers/industry.

How has your visual style evolved? Were any changes deliberate or perhaps due to the influence of your surroundings including colleagues?

Through my education, and career, I have tried to learn new techniques, as well as develop ideas and concepts. New skills help you to express what you want to say. I am also increasingly interested in connected areas like architecture and design. Art, Design, Graphics, Architecture etc have so much to offer each other, and are not totally separate disciplines.


No. I think that as a student, you have to think carefully, and to some extent strategically about your choices and future career. Many people, who train in art colleges take that creative, problem solving, adventurous way of thinking into other areas very successfully. Skills learned through art at school and college are valuable, life-long and transferrable.

How often do you find time to think about your future and the direction you are headed in?

I think about it often! It’s part of making decisions about my life, career and the things I make.


My parents were pretty nervous about a career in art and design. They worried that I wouldn’t make any money. They came around! I also had to do lots of voluntary work in galleries, museums and schools to get good experience.


I often work with people from outside the industry. There is sometimes a lack of understanding, but I make it my business to be professional, and to dispel any lazy assumptions that some people may have.


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I find that a lack of respect or understanding is usually because someone doesn’t understand what I actually do.


It became increasingly important to understand what is happening in fashion, architecture, design, urban planning, painting....and how all these things are connected.

Do you believe that creative ‘instincts’ play a sub-conscious role in a successful visual arts career or are hard work, developed skills and experience more important?

I am not sure how much being ‘artistic’ is nature or nurture. I am sure that one without the other doesn’t work.

Has it been easy to support yourself as a creative professional? What financial advice would you pass on to someone starting out?

When I began as a creative professional, it was not easy to support myself, and I had lots of part time jobs. My advice to someone starting out would be, to be tenacious and realistic, for example, take an evening job, so that you can do some voluntary work and get experience. Understand that there will be a few years with no holidays and that your wardrobe may suffer a bit! What you get in return is great satisfaction, you learn, you make contacts and you get to do what makes you happy.


It can be difficult sometimes, and you have to make things clear without dumbing down what you do. If you understand what you do, and the way it impacts on your client or colleague, it is much easier. taking time think about questions that might come up helps.

How much of your skill-set do you consider to be self-taught, and how much do you owe to you teachers, lecturers and fellow visual creatives?

I think we underestimate what we can learn from friends, teachers, colleagues, fellow students. It’s incredibly important to listen, be interested, and to keep an open mind. I also spend time researching, visiting galleries and reading.

FACT BOXFine artists create original pieces of art work, often through a variety of mediums. They often specialise in a particular type of art such as painting, drawing, sculpture, installation, performance or film.

Fine artists can be commissioned to produce a piece of work or they can work independently, selling on their work either directly to the public or through an intermediary such as a gallery or an agent.

Some fine artists choose to supplement their income by running art classes or community art projects.


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Fine Artwith Georgia Peskett, 49

Fine Artist


Yes it’s morphed many times; I began training to go into graphics for publicity and advertising, then managed to travel to New York and be an artist’s assistant where my own painting developed, influenced by other artists and my surroundings. I did get to use my illustrative skills some years later for books, magazines and other work I did along with my painting practice that at that point I wasn’t yet exhibiting.


Yes, the experience of learning whilst collaborating with other creatives teaches you a lot about visual communication and its uses. I think it pushes you to experiment and not be too precious about what you’re doing.


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I had some great teachers at school who saw potential and encouraged me. There was less competition and pressure to get a degree back in the 80’s. Things are harder now, so the decisions about our future seem to have to be made sooner.


Every day, it’s important to step back often to assess and plan ahead as much as you can.


I often encountered obstacles, as a fine artist, it’s slightly more risky than being a more commercial artist. Being prepared

FACT BOXFine artists create original pieces of art work, often through a variety of mediums. They often specialise in a particular type of art such as painting, drawing, sculpture, installation, performance or film.

Fine artists can be commissioned to produce a piece of work or they can work independently, selling on their work either directly to the public or through an intermediary such as a gallery or an agent.

Some fine artists choose to supplement their income by running art classes or community art projects.

for anything is always good, having backup skills that you may need.


Perhaps that many of my works are in public and notable private collections worldwide.


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Film & Television


From an early age I was obsessed with drawing, luckily my parents were extremely encouraging and allowed me to draw and scribble on anything and everything. This early freedom helped me develop the courage to be creative.

Now when I have to respond to a brief, particularly ads and promos, this freedom is still vital. It gets me going, helping to generate ideas, and doesn’t inhibit me. Later on I can filter out the good from the bad.

How has your style evolved over the years? Were any changes deliberate or perhaps due to the influence of your surroundings?

My visual style is now in film and video, but I am drawn to a certain style of cinema, wide angles and a stylised art directed look.

I think that comes from my initial love of caricatures and drawing. I was very influenced by comic books and the work of Terry Gilliam as a young art student and this has manifested itself in the kind of imagery I like to create. Having said that, the brief, look and feel of each piece depends on the narrative, the story, and of course the client.


That’s a tricky one. I was artistic and so was naturally drawn to Art, Design and English. There was no pressure from my family or the school to lead my choices but I remember some parents commenting that my choices were not going to help me with a career, when what they really meant was, those choices weren’t going to help me to achieve their career.

In fact, knowing at 12-13 that I wanted to direct films has been an incredible benefit and the choices I made at that age were the right ones. Do the work that you love is the best advice anyone can give.

with Niall Towl, 43Writer and Director at TellyJuice


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One of the key things in any creative life is to stay interested and excited in what you are doing, so planning and following your instincts is really important. Keep playing and never stop coming up with ideas.


You need a bit of luck in any career, getting started is the key. I left film school in the early 90’s in a recession so found it difficult to get a job to begin with. But I was happy to get stuck in with runners’ jobs, learning anything I could about film making and writing scripts along the way (this is pre-internet!) and whilst unemployed, I would write stuff and storyboard ideas. Luckily it has all worked out nicely, I can’t really say

mine is a Rocky style overcoming of the odds, but being dedicated to the idea of becoming a director from the age of 11 has been a real help overcoming any bumps in the road.

FACT BOX

Directors have overall responsibility for the way films or television programmes are made. As a director, you would use your creativity, organisational skills and technical knowledge to manage the whole production process.

In some cases you might write your own scripts and raise finance for projects. On some productions you might also operate camera or sound equipment – this is particularly common with documentaries or productions with a small budget.

I am lucky enough to run a company with two business partners and so have the opportunity to lead the company in certain creative directions. So one year we made 12 comedy shows, last year we made some cool ads, and this year I am looking forward to creating some documentaries.


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How did the role that visual art played in your life change when you began to pursue it professionally? Quite simply, I switched from being a viewer to a maker. I grew up with square eyes, watching anything and everything I could, day and night on TV. Then I stumbled into a job in the media and realised I could earn a living looking at TV footage all day! Could you identify one or two common myths or misconceptions about your chosen area of expertise? People imagine that a finished show is the creative work of a director, and that the editor is simply the button-pusher who brings the director’s vision to life. In fact, once the director has shot the rushes, the editor is responsible for the whole look and feel of the end product.

Also, people are always surprised how long it takes to edit a show. Typically, it is 3 weeks for a half-hour show, and about 6 8 weeks for an hour. One job I edited took about 12 weeks for just one hour. How early in your life did you begin to think seriously about your career? When and how did you come to realise a visual arts career was right for you? At 6th form I planned a career in something not at all in visual arts. I pursued it at University, and found work in that field for several years. But I was miserable and packed it all in. It wasn’t until I was 26 that I started from scratch again and found a job as a runner for a TV company. Within a year I had trained up and started working as an editor.

Editing for TVwith Daniel Goldthorp, 46

Avid Editor for X Factor, Jamie Oliver & Top Gear


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Is it ever challenging working with colleagues or clients who do not share your passion and understanding for the visual arts? Do you ever feel there is a lack of respect for the skills you have worked hard to develop? Yes. Particularly in my job, as most of the time I am stuck in a small room with just one other person (the director) 99% of the time they are wonderful, but once in a while I will be stuck for a month or two with someone who clearly has different ideas and vision to me, and it can be frustrating trying to find a compromise without ruining the show. How have your goals and aspirations changed since you were in school? What advice would you give to your teenage self? At school, I understood that when choosing a career, I should base my decision solely on what I was good at academically. But looking back, no-one ever suggested that I should pursue something I enjoy. Passion and desire should ALWAYS come ahead of proficiency and good grades when investigating a possible career.Did you study the visual arts at college or university?No, the very first time I experienced anything to do with the art of making television was on the job.

How easy is it to make progress within your specific area of expertise? Is there a conventional route or common ‘way in’ for new graduates?I don’t know anyone who has a career in TV who hasn’t spent time as a runner first. Whether straight out of school, or with a degree, or at 26 like me, everyone starts as a runner. It is badly paid and often undervalued, but it is a great way to see all aspects of the industry from within, and if you are passionate and driven as a runner, you will be spotted. Those who stand out can fast-track in this industry amazingly quickly.

FACT BOXTV editors transform raw footage filmed on the set of a television show into a polished final product for broadcast by mixing video footage with music, sound and special effects. They are responsible for the majority of the post-production process, and their editorial decisions determine how the story is told, ultimately molding the audience’s experience.Nowadays, all film and video editors must be computer-savvy and have an extensive knowledge of video editing software such Avid, Sony Vegas, Premiere and Final Cut.

... Which might seem crazy, bearing in mind I am now Head of Art at The John Lyon School. I have always loved art and was an avid drawer and maker from a very young age, producing copies of posters and making my own furniture. It was this love of art, design and making that did eventually lead me to study Fine Art & Design at sixth form college. I started at a disadvantage as I had never been taught the technical skills formally, but I persevered and developed my skills to continue onto foundation and then a degree course, gaining the highest marks in my year and becoming the president’s honours student.

University, or art college as it was known in those days, was an amazing experience. I studied initially at Falmouth College of Art in Cornwall and then following a student exchange transferred to Canada where I studied at The Alberta College of Art in Calgary. I was encouraged to experiment with fine art, film-making, textiles, silver-smithery, glass and many other disciplines, developing my ideas in a variety of media and formats, an experience that has been of huge benefit in my career as a teacher.

I left art college full of optimism and returned to England, where I got a studio in a local gallery and went about life as a professional artist. Admittedly the money didn’t come rolling in straight away and I took a part time job at a local supermarket to help make ends meet. This arrangement allowed me to paint and exhibit my work, occasionally working with other artists and designers. After 18 months or so, I decided to head to the capital to get a job in a creative company.

London life came as quite a shock at first , but it was also energising to be in such a stimulating and creative city. My first job was for Tony Stone Images (now famous as Getty Images) where I was responsible for scanning in all photos and refining them using Photoshop, the first digital files created for a photo library, how ironic for those who know about my Photoshop skills now! This job soon led me back to becoming an Artist and Illustrator. I worked with the Princes Trust to create my own commercial illustration and fine art business which I ran for a few years, until I needed to invest in commercial printing and it seemed to lose its personal touch. Out of the blue I was offered a job as an interior designer for an interiors company which designed palaces for the Saudi royal family!

After such a varied experience of the visual arts industry I settled on the idea of teaching, a career my mother and tutors had always recommended but I had avoided on my father’s advice, a teacher himself. In some ways my father was right to warn me, teaching is a demanding job, which can push you both physically and mentally. However, it is also extremely rewarding, and I can honestly say I love my job.

I would recommend art & design as a subject to anyone who enjoys creativity, if you like drawing, painting, print or sculpture it is a wonderful subject in which everything you do counts for your actual GCSE, AS or A2 grade. At John Lyon we can offer you amazing resources in the form of well-equipped studios and frequent opportunities to work with professional artists in workshop. Visits to contemporary exhibitions are a regular occurrence and help to develop your skills and understand of art history. As a department we pull together to support you in your application to university and can even arrange early interviews for anyone wanting to study at London College of Communications.

Ms Lorna HopeHead of Art


“I never studied art at secondary school...”

...So choosing it for GCSE and A-level was an easy decision. During Year 13 I decided that I wanted to become a graphic designer, although admittedly this was mainly because it sounded cool. At that time the only route on to an art degree was via a foundation course, so I applied for one at my local college, Ravensbourne. I remember being asked at the interview what the concept was behind the laminated plywood lamp that I’d brought along with my portfolio, and struggling with an answer. At school, I was just doing the work I was set and researching the artists I was told to. At art college, I was encouraged to explore, question, imagine and create.

After a great year experimenting with graphics, illustration, 3D design, film and animation, I was certain that I still wanted to apply for a graphic design degree course. But did I want to stay in London or did I want the campus experience that my friends were having elsewhere? After attending a few different open days, I realised that I wanted to stay in London because it felt more exciting to be an art student in the capital (and I could pop home at any time to get my washing done).

I was accepted onto the BA Graphic Design course at Central Saint Martins. The college is internationally renowned, and working alongside fellow creative types from all over the world was an invigorating experience. Going to art college can be quite a different and unusual experience when compared with other university degree courses. Art colleges are full of inspirational people with wacky ideas and a relentless kind of energy. At CSM we regularly worked with client-led live briefs and had the opportunity to enter many international competitions. Throughout my three years I began to specialise in animation and illustration, and loved every minute of it.

Following university, many friends got jobs at graphic design companies, web design companies and advertising agencies. Some started working freelance, building up their own client bases, and others grouped together and to form their own fledgling companies. I myself landed a job as a junior graphic designer with a small company in Kent, where I worked on designing anything from books to websites. However, after only a year I was back at art college again, this time doing an MA in Communication Art & Design at the Royal College of Art.

Since graduating from the RCA, I have illustrated and published my own children’s picture book, and continued to design websites, book covers and graphics for a variety of clients. My artistic practice is constantly evolving, and is now focused much more on drawing. I still accept commissions and love diving back into my art during the school holidays.

Art is an incredibly rewarding subject to study at GCSE and A-level. For me it was the one subject where I could truly express myself. I loved the focus on practical work and keeping a sketchbook of all my ideas. GCSE Art introduces you to so many different artists and techniques, encouraging you to be creative and ambitious. It demands a lot of your time so you have to learn to work independently. There is an exam at the end of Year 11, but the great majority of your GCSE grade consists of the sketchbook work you produce over the two years. If you like art and are good at it, you should definitely take it for GCSE. Whether or not you want to become an architect, designer or filmmaker, GCSE Art will teach you skills which will be useful for the rest of your life.

Mr Edward Collard-WalkerArt Teacher


“Art was my favourite subject at school...”

The John Lyon SchoolMiddle Road

Harrow-on-the-HillMiddlesexHA2 0HN

T: 020 8515 9414E: [email protected]

the john lyon school visual artists' career guide 2016

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