10 Tips For Better Brainstorming

http://www.slideshare.net/davidburton/creativity-10-tips-for-better-brainstorming

Questions posed to The Folio Society

When you commission an illustrator is there a specific process you use to allocate a correct candidate?

A: I read the book in question initially, plus we have a briefing meeting with Editorial for any other guidance about the book that I should know.

Following that, I will think carefully what I feel is appropriate to the book - what style would capture the mood, tension, and genre and then think who would be right to illustrate it. It could be one of our existing illustrators or I might have to look around.

When you are working with an illustrator can you tell us any information on the deadlines and time scale that they have to work to ?

A: The deadline depends on where the book falls on the schedule. Currently we sell our books by forward commitment. By that I mean that annually we produce a prospectus featuring all of the forward list titles available that year. Although the books are shown in the Prospectus, photographed, and feature a number of illustrations, they aren't actually available to buy until the month they're advertised as being available in. The Prospectus goes out to members in September, and features books available from then through to around June the following year.

In order to have books for marketing to photograph, and illustrations to tempt people with, I have to commission the work for all titles ahead of the game, and ask for a small number of illustrations for marketing purposes. Some illustrators have to complete the rest of the illustrations very soon, if their book is available to members as soon as the prospectus comes out, others have a long time, if theirs isn't due until the following June. So, to cut a long story short, they have between 4 months and a year, roughly. That is to produce a binding/cover design for me, and a number of inside illustrations, between 6 and 12 full page colour illustrations on average.

What fees do you pay to your illustrators? Do you normal pay a royalty based on sales?

A: We pay a flat fee for illustration, with no royalty. We pay around £500 for a full-page colour illustration. Half page or spots will vary on size and colour. In addition, an illustrator will receive 6 copies of the book they've illustrated.

I hope that answers your questions.

I receive a lot of illustration samples from illustrators, as you can

imagine. One thing that I'd like to stress, when any of you come to show work to prospective clients, is that you should try to show applicable work as much as possible. That's even if you have to do a personal project to prove that you're up to the task. Make sure you do your home work, so you know what people commission.

The main commissions I have are for fiction - adult classic, and modern classic. We have very few children's books. Therefore if anyone shows me work, I expect to see really good evidence of people, especially fictional people, rather than just observational drawing. We need to be convinced that someone can illustrate a story, can convey emotion, tension, period detail.

Trends in Illustration

There has always been, to some extent, a trend in illustration, but none so much as with the last three decades. But what is meant by ‘trend’ in this context? Te emphasis here is on visual language and the deliberations assumed regarding the aesthetic or non-aesthetic values placed upon said imagery. However, one cannot overlook the fact that cultural history and association has a considerable influence on the fluctuating façade of contemporary illustration.

This cultural association has facilitated a defined push for some illustration styles to be intrinsically linked with subjects, themes and contexts that are influenced by market culture, most notably the music industry, advertising and fashion.

…

Urban culture, like punk, new wave and psychedelia before that, has now given rise to a trend in illustration that is symbolic with the music, fashion and graffiti associated with this.

…

whilst determining visual language in particular it must be observed that content and subject matter can be considered a benchmark for determining trend.

Source: Illustration – A theoretical and contextual perspective. Pg 76/77

Research

The purpose of research in this context is in part to do with the straightforward acquisition of information for subject matter, but it can also be to demonstrate how the collation of data and the subsequent summary conclusions might make some appropriate contribution to knowledge. It does depend on the nature of the intended project ad whether it is based in professional practise visual communication or is to be a visual thesis, both of which are defined and described in the section outlined in the rationale. Whichever model appropriated at this level, research methodologies must be measured and testable against academic and intellectual need and firmly embedded into the project as exemplified by the objectives previously established.

This type of research is broadly described as ‘Research through art and design’. It is applied research by practise in this instance, specifically that of drawing and illustration. It is systematic enquiry that is directed towards the acquisition, conversion or extension of existing knowledge for use in particular applications.

Source: Illustration – A theoretical and contextual perspective. Pg 32

Process 2

Evaluate the work produced at the initial stage and proceed with several ideas or concepts. Take risks with one or more, combine some and identify others that work disparately. Take these conceptions to a more finished state of visual complexity. The process of drawing will become a clear language of intent and meaning. Whether the imagery is to be imaginative or metaphorical, pictorially real or simplistic, visual clarity at this stage will facilitate the editing process and determine which solution to take towards completion.

Source: Illustration – A theoretical and contextual perspective. Pg 30

Process

Whatever the complexity of the brief. The initial process of initiating and generating ideas and concepts is basically the same and the most common practise is to brainstorm and record all thoughts and notions by way of written and/or visual note taking.

Source: Illustration – A theoretical and contextual perspective. Pg 26

Analysis of brief.

The initial process to undergo is one of analysis. What is the problem of visual communication that needs to be solved and whit is it that one is actually communicating, to whom and for whom? First, identify and understand the context. What is the nature of the task required of the imagery? Also, what is the content and subject matter that is being dealt with? Is there a need for research and/or to find out more than is already known about the subject? ‘Only an intelligent analysis of the information generated by the briefing process can lead to an appropriate visual solution.’ Rich Steel, ‘Illuminations: solving design problems through illustration.

Source: Illustration – A theoretical & contextual perspective  Pg 18

How to be an illustrator

What are the qualities, attributes and skulls that make for a successful, practising illustrator? This question is particularly relevant today where there is shifting and blurring of boundaries between disciplines, particularly in the creative and media industries. To begin with, it is widely acknowledged that one of the initial aspects of an illustrator’s education is to do with the acquisition of practical skills. The operative skills that are associated with contemporary illustration practise, involves the utilisation of a range of media, both traditional and increasingly digital as, for example, promoting oneself by way of a website has become the norm. Sound academic drawing practise is also an essential underpinning for most aspects of illustration, irrespective of the visual language or style one is associated with. The externalisation and visualisation of concepts and ideas are best deployed by the process of innovative use of design and conceptualisation is also essential, felicitated by the natural ‘gift’ of visual intelligence. It is however, unfortunate that some commissioning art directors and illustration tutors place importance on the superficiality of visual language and the commercial constraints placed upon it to conform to trends and fashion. In education, the student illustrator is often under pressure to ‘break new ground’ and push the boundaries of the subject. This usually means the production of so called ‘innovative’ mark-making that in reality does nothing to consider the real business of illustration.

In a professional context, successful, forward-thinking illustrators no longer operate the way many did and some still do, as merely ‘colouring in technicians’, receiving briefs that are heavily directed and prescribed regarding content and overall visual concept. Many illustrators ‘take the lead’, or are given it, in terms of directing a project or commission. This has a significant bearing on the profession process and means that the best illustrators are often educated, socially and culturally aware. They need to have knowledge of, be authoritative about and have empathy for a great many topics and subject, particularly those the illustrator may be required to engage with as part of a brief. They also need to be mindful of current affairs and opinion, be contemporary with society at large and current trends in visual language and media. Illustrators need to have knowledge, understanding and insight regarding the context, within which they are working, the professionals working within the parameters and needs of the market place and target audiences. They need to utilise a breadth of intellectual and practical skills that might once be regarded as transferrable from other disciplines but considered essential if the illustrator has ambitions to transcend the role of commissioned hack.

Source: Illustration – A theoretical & contextual perspective  Pg11

Illustration

The discipline of illustration was once an exclusive club with practitioners remaining firmly within the confines of ‘commercial art’. However, the emergence of stock art and the impact and advancement of digital technology have instigated a ‘changing face’ regarding the discipline of illustration and emphasis on the acquisition of transferable skills and the ability to multitask. It is not uncommon for individuals to proclaim a status comprising ‘illustrator-writer;, ‘illustrator-designer’ and with some more unusual, varied and disparate combinations.

Illustration practise is not judged purely by visual literacy and technical qualities, but is a disciple that is firmly established as one that engenders the best intellectual engagement with the subject matter, problem solving and visual communication. Illustration can also be applied to anything and is not driven purely by fad or trend.

Source: Illustration – A theoretical & contextual perspective Pg 10