Knack Magazine by Belinda Johnson

celebrating creativityâ&#x20AC;&#x201A; free magazine

a dream come true:

Mark Nader's space to create The Whimsical World of Illustrator Anke Weckmann Get the Knack ofâ&#x20AC;Ś

networking internships interviews

future talents D&AD award winning designers Ekaterina Kitaina & Tina Northover

project manager egle strockyte art director kathrin myrvang editor/production manager belinda johnson production assistant elena biagi contributors alyson stoddart, anastasia ivanova, anke weckmann, belinda johnson, cat millar, gemma latimer, hannah peel, hubert jakub gawrys, kate rintoul, lorna morris, mark nader, natalie ridgway, vicky parting. concept & faculty of media advisors desmond o’rourke, keith martin cover photo by anastasia ivanova blog futurising.tumblr.com twitter @knackmagazine facebook knack.at.the.shack

hello! Over at LCC's MA Publishing course, this year’s students created original brands and magazines packed full of exciting new content as part of their major group projects. Knack Magazine includes in this issue some of the really useful gems from those projects that we hope will inspire creative opportunities for you.

German-born illustrator Anke Weckmann and publishing entrepreneur Kevin Braddock give us an insight into the daunting world of freelancing; two bright sparks from the world of environmental design share their D&AD award winning experience, and we share our tips and tricks for how to get the Knack of networking, interviews and internships!

Special thanks go to the print production crew at LCC: Scott House, Jim McBride, Phil Sears and Tony Yard for their hard work in making our magazine come to life. ©Knack 2010. All work remains copyright of individual contributors and owners. No part of this magazine may be reproduced without prior permission of the copyright holder. Knack is produced exclusively for Futurising 2010 by a group of students from the London College of Communication’s Faculty of Media. Many thanks to the MA Publishing students for permitting the content from their 2009/2010 group magazine projects: Blurb 2010, Pica Pica and Ruin. Printed at London College of Communication on Robert Horne Revive, 100% recycled paper.

Knack is still evolving! We’ll be putting together an interactive digital Knack magazine live during the Futurising festival and we have loads of opportunities for you to get yourself noticed. Swing by the Shack at Futurising to find out more. We would like to thank our sponsors, and particularly Sarah Harries and Vicky Fabbri of Futurising, and Jill Strozik our fantastic Knack event’s co-ordinator, and our mentors Desmond O’Rourke and Keith Martin. Knack is a fantastic meeting of minds and disciplines – bringing together students from across the Faculty of Media at LCC. In advance of Futurising we would like to thank the students from the various courses taking part in Knack – interactive media, journalism, photojournalism, public relations and publishing. We hope you pick up some useful Knack tips and have a great festival. Watch out for our forthcoming interactive Knack magazine, and check us out on Facebook and Twitter to contribute. the knack team

5 get the knack of… interviews

23 get the knack of… internships

6 inside communication

24 kevin braddock on inside freelancing

Get right on track with our great tips

More than just making coffee!

Andrew Thomas: publishing wisdom

Handy hints for any budding journalist

d&ad award winning designers

Dark tales of online ip theft

Inside freelance illustration

q&a with filmmaker Romily Hammett

q&a with sub-editor Emily Miles

What you know and who you know!

Inside freelance illustration

Beautiful book design

8 future talents

15 world of weckmann

18 hard work and good luck

19 a space to create: mark nader

26 the devil’s in the detail 29 fresh ambitions

31 get the knack of… networking

32 lorna morris: making her mark

Get the Knack of…

interviews So you’ve got your foot in the door and landed yourself a job interview. Scared? Join the club! With Knack’s helpful tips you’ll be right on track and ready to face the big bad world of employment. words belinda johnson & egle strockyte photo stock.xchng

Don't let the bastards grind you down – care enough not to be put off by the doom-mongers and nay sayers. simon hattenstone – features writer for the guardian speaker @ futurising

show off! – whether you’re a designer, a marketing expert or a wannabe TV star, your prospective new boss will love seeing something you’re proud of so don’t forget your portfolio.

keep it punctual – if anything, be early. An extra 10 minutes will give you a chance to calm down and focus on the job at hand.

make eye contact – make eye contact with the interviewer as soon as you enter the room and maintain it! Show confidence and you’re already halfway there.

practice makes perfect – have a friend ask you some typical questions and take your time thinking about your answers. This will help you grow in confidence and have someone else to bounce your ideas off.

ask questions – show you’ve thought about the job and have an invested interest in the company. You’ll be surprised; interviewers will seize the opportunity to talk about themselves! relate – think about your accomplishments and when interviewed focus only on the ones that are relevant to the position. do your homework – research the company and the position in order to have a clear idea of what the job requires from you.

make conversation – you wouldn’t have got the interview unless you already had great skills and qualifications, so make the most of the time to sell your personality too ... don’t just talk about the weather! have ideas – what could you do for the company? Bring your ideas to the table at this stage and prove you can think outside the box and show creative initiative.

be positive! – avoid moaning about your unemployment and, in particular, avoid negative comments about past employers.

inside communication As Publisher of Communicate Magazine, and with a career spanning 30 years, Andrew Thomas knows a thing or two about the world of magazines. Knack sat down with him, in typical publishing style – in a pub in Clapham – to see what words of wisdom he could impart. words hannah peel & alyson stoddart photos provided by andrew thomas

I got into magazines at a pretty young age, starting a music fanzine when I was fourteen with a friend. I stuck with magazines; he went with the music, which worked out for both of us – he’s now known as Fat Boy Slim. I went straight from school to Haymarket Publishing, which for everyone else seemed to be an extension of their university days. It’s harder to enter the industry now, with everyone thinking degrees are always needed. I crept in the backdoor into ad production for a year before moving into a commercial role and quickly became their youngest ad manager. More than anything you need to have enthusiasm for the job. Whilst there I got to work on a variety of different titles and got to learn the more cut-throat side of the industry. On one occasion I was sent abroad with the threat of launching a competing title against those owned jointly by Haymarket and their local partner in order to ‘encourage’ him to sell his stake to a third party. To prove we were serious we launched a magazine in a sector in which we had no experience. The first issue came out and the local partner agreed to the sale. There was never a second issue.

“Speed and responsiveness make magazines exciting” After a few other roles including, briefly, running a publishing consultancy, I then spent twelve years running the non-US operations for CrossBorder Publishing, including launching CorpComms magazine. After an 18 month hiatus from magazines I returned with the prospect of buying the magazine I’d launched, but was outbid. It worked in my favour though – it’s much harder to turn around a

failing magazine than launch a successful one. Cravenhill Publishing commenced in August 2008 with the launch of Communicate that November. At a time where the financial and communication world was crumbling around us we still collected the PPA’s Best Independent Launch award. We won it because we have a passion for what we’re publishing. Speed and responsiveness make magazines exciting. You can have a great idea and see it in print in the next issue. Magazines are tangible products; they stand on their own as a value of authority. People forget that magazine publishing is a manufacturing industry.

“If you don’t have fun, I’d advise you to take up another career” There are no hard rules in the industry; the most important thing is to enjoy it. I continually feel lucky and privileged to do what I do. There can be times when you have no control over the marketplace, there are rarely steady moments, but ultimately hard work and passion will win through. Reading magazines is often where one gets the best ideas. Once a month I get a selection of magazines from other sectors and over a boozy team lunch we develop ideas that could work for our title. You shouldn’t be afraid to capitalise on good ideas and put your own individual stamp on them. A magazine has to be part of the community it represents and your brand is the relationship you have with your audience. Ten years ago the magazine was central and everything else, the websites, awards and so on, were extensions of that core brand. Now you have the brand with eve-

With a circulation of 10,000, Communicate magazine is the UK's leading monthly magazine for the corporate communications community.

rything coming together to enforce it. You have to stop thinking that print is more important. As with most publishers I have a relationship with print. I love the smell of ink, but digital is a vital part of the contemporary magazine. When people starting out in this industry go for job interviews, they need to understand all the platforms a publisher uses to engage an audience. In those interviews, knowledge is everything. Do your homework – it pays dividends to know about competing titles, the sector and the industry as a whole. If you want to work in a specific sector, then networking can be influential in getting that first interview; going to ‘the opening of an envelope’ may help you snag your first job. It can be easily forgotten, but everything you do reflects on your reputation and that of your magazine. To the outside world, whether it’s your first week or fifth year, you represent that magazine. I often think that publishing magazines isn’t like having a proper job. It can be very long days, but it is an industry like no other, where so much can be achieved and where creativity and ideas will succeed. So if you don’t have fun, I’d advise you to take up another career.

Andrew Thomas is the publisher of Communicate magazine, which was launched in August 2008.

For over thirty years the D&AD Student Awards have been kick-starting stellar careers in design. The Awards, for which students are awarded yellow or black pencils, provide an amazing opportunity to work with well known brands to produce creative solutions to specific briefs. The Awards aim to showcase and promote the best emerging talent and to launch stellar careers. Last year, environmental designers were asked to create anything that would improve a retail area, using the sponsor Formicaâ&#x20AC;&#x2122;s product in an innovative way inside and out. We caught up with two winning students to see how the award affected them and to get into the minds of some of the most promising future talents of design. words kate rintoul photos anastasia ivanova & hubert jakub gawrys

photo hubert jakub gawrys

photo anastasia ivanova

future talents

ekaterina kitaina Dressed in Harem trousers and a stunning sinched coat, Ekaterina exudes a unique sense of style. A girl with many interests and talents, she likes mixing things up and this passion for contrast is visible in her designs and inspirations.

For Ekaterina, the winning the Yellow Pencil Award was entirely unexpected, “we had to enter the Yellow Pencil Awards as part of our coursework but I got a really bad grade from my tutors and had become really demotivated, so winning was a really big surprise.” This controversy entered the judging process as opinions were split over her design, which saw shoppers entering her space via a giant horse’s rear. “It is very pejorative and carried an element of risk, apparently the judges did wonder but felt it caught the eye – sometimes it pays off to take risks!”, she exclaims. Once through the “Horse’s Ass”, Ekaterina created a lounge for men based on the seven deadly sins, set up in the space where Liberty opens onto Carnaby Street. For her detailed design, Ekaterina chose pride as the main theme and designed a barber shop, though the space also had gaming and smoking areas where men could keep themselves entertained while their ladies shopped. Ekaterina does the unexpected and draws inspiration from various sources of art and literature, “I like all sorts of shapes and forms and particularly philosophy and psychology inspire my work.” Briefed to create a building in Southwark for her final project, Ekaterina has not gone down the social strategy route, “community design is not my thing”, instead creating a space for members of Bilderberg, a secret society of politicians who are based in the area, somehow is. Her ability to look at briefs in an alternative and creative way ultimately leads to innovative and unconventional designs. In addition to studying environmental design, Ekaterina paints and is passionate about fashion. This mixed bag of interests and talents reflects in her designs and is what makes her such an exciting designer. She originally wanted to study fashion, but with lots of friends as designers, she was put off by the daunting prospects and figured that people will always need shelter. Therefore, she felt success was within reach in the area of environmental design. Her interest in fashion remains obvious and gives great aesthetic quality to her designs; she produces beautiful fashion illustrations and has a creative approach to design briefs.

Currently working for hand painted wallpaper specialists de Gournay, Ekaterina respects the company, and plans to continue with them after graduation, before embarking on her own projects. “I have a similar style to de Gournay and like the way different things can be appropriated to mix old and new”, though eventually she plans to specialise in her own brand of environmental design. Raised in Budapest, a city renowned as one of the most beautiful cities in Europe, Ekaterina feels it has lost a lot of its charm as the country has a limited mind and designers go unrecognised. Never shying away from political arguments, Ekaterina attributes this to a lack of investment in the country and a lack of interest in design. In London, Ekaterina is inspired by St. Martin’s Lane Hotel: “I like most Starky things.” She also loves the variety on offer in the world’s major cities like London and Moscow, “coming from a smaller country I love to see places where people appreciate design and architecture. Although there are a lot of tacky and tasteless things in Moscow, there is good variety.” To catch a glimpse into how Ekaterina’s wonderful mind operates, you can check out her newly established blog, wonderlandphilosophy.blogspot.com. Set up recently as a personal resource of inspirations, Ekaterina already has two followers, one of whom is a Chinese girl living in Madrid, a perfect example of the mixture of experiences that characterises Ekaterina’s design spirit. For Ekaterina, her appreciation and use of variety is reflective of a wider shift in design away from minimalism, “I’m so glad that everything no longer has to be glass, it is great to see that intellectual design is back. In minimalism everything was easy to match, it is much easier than taking very decorative individual pieces and turning them into an attractive and cohesive frame.” Ekaterina is bold and speaks her mind. If she says highly decorative spaces are in, it is likely we will soon try to achieve the look in our homes, and it is reassuring that someone with such a broad mix of talents will inspire how we personalise our spaces.

photo anastasia ivanova

“I like all sorts of shapes and forms and particularly philosophy and psychology inspire my work.”

tina northover

photo hubert jakub gawrys

I met Tina on a grey rainy day. It would have been easy for her to cancel but she came to Elephant & Castle on her day off and didn’t once complain. Tina’s considerate, flexible and eager-to-help character translates well onto the page and is thus apparent in her designs.

Although the Yellow Pencil Award process of creating detailed designs in six weeks was tough, life hasn’t changed entirely since winning the prize. Tina however considers herself lucky for the chance to enter, let alone win the competition. Briefed to design a solution to a problem of design in London and incorporating Formica inside and out, Tina created functional, creative and social beehive-inspired pods that seat twenty people at a time in Borough Market. “I took inspiration from theatres and wanted to promote interaction within the space”, she explains. Drones of office workers, tourists and foodies congregating en masse have become regular fixtures at the market. Though this surge in popularity has been fantastic for the area and for the city’s food reputation, the local environment was definitely underprepared for the sudden surge in footfall. “There’s a lack of seating in the area, you see people in the nearby graveyard, and despite the frequent rain, there’s no shelter.” Far from being a fierce, self-obsessed ‘artiste’, Tina thoroughly considers the people who will use the spaces she designs. Having started off designing with nature in mind (which still plays

a part in her work), Tina has become interested in the areas of public strategy and social design. Her awareness of how her spaces are used has developed by considering how people interact with their surroundings in positive ways. For her final project, Tina is designing a youth art center that backs on to a skate park. This links to her dissertation where she focuses on Banksy and the theme of counter-hegemony against the state as well as her own collection of street art. “Street art and skateboarding have always coexisted, so my design emphasises a natural link”, she says with a smile. However, Tina’s own personal interests are not the main drivers for this project; the main driver rather is her wider emphatic philosophy on design. “I plan to get young people involved, it helps instil a sense of pride and respect for their spaces. I really think that the biggest weapon against anti-social behaviour and problems is to get people involved and encourage them to change their behaviour”. Tina hopes that the skate park and youth center will follow in a long tradition of socially responsible architecture, “art and architecture implicate one another and are important to make inspiring spaces and a meaningful narrative for people”. Tina exudes social sensibility and awareness, perhaps because she came

“I plan to get young people involved, it helps instil a sense of pride and respect for their spaces. I really think that the biggest weapon against anti-social behaviour and problems is to get people involved and encourage them to change their behaviour.”

to interior design later, having spent three years working as a ticket allocator for Ibiza super club Manumission. “I went to Ibiza when I was 19 and definitely did a lot of growing up out there. I think that being an ‘older’ student, I have a lot more confidence in myself and my life experiences, there are some things you can’t learn in university”. Having lived in the real world before university, Tina is also aware of the hard work and dedication necessary to succeed and is already broadening her skills into other areas of design. “You have to be flexible, to be open to more chances, you can’t just sit on your laurels, you have to be constantly looking for opportunities.” Though Tina definitely wants to stay in design, she has already arranged to work at IPC Media after she graduates and would like to go into magazines as a sideline to her environmental design projects. Tina is an exciting designer and it is great to know she will be helping to redefine modern spaces in the future. We are lucky to have her. Despite the fact that she only went in to interior design when a fashion course she applied to was full, she has since gone on to become focused and confident in her field. “I’m glad it worked out that way. I chose the right path, it’s definitely serendipity. It was meant to be!” Relaxed and smiling, I leave Tina to her book on street art, glad too that she will be designing the future.

Advertising from Marie

Think of a problem or a cause or and an idea you really care about – something that inspires or angers you, and that you want to change. You’re more likely to do original work if your passion has been stirred. Then create an idea or a solution that you think will help bring that change about and show it to as many people as you can persuade to listen to you. You'll find that someone will respond and a door will open. michael wolff – creative designer speaker @ futurising

world of weckmann Knack takes a peek into the whimsical world of illustrator Anke Weckmann and finds out what it’s like to see your first paid work in print. words belinda johnson and natalie ridgway illustrations and photos anke weckmann

Anke is a freelance illustrator who draws the most gorgeous of images – mainly cute indie girls wearing quirky outfits, rosy cheeks, and super sweet shoes. Enchanting plants, chubby cats, flowers and loved-up couples also feature prominently in Anke’s work. When she’s not working on one of her many commissions, Anke’s probably tending to her Etsy shop, selling digital prints, greeting cards and other small trinkets like magnets, mirrors and pendants, to her numerous fans across the globe.

Originally from Germany near Hannover, Anke moved to London in 2001 where she studied illustration at Camberwell Arts College and Kingston University. Since graduating in 2005, she has built up her portfolio to include an impressive roster of clients, including the likes of The Guardian, Channel 4, Newsweek, and Vogue Italia. We decided to catch up with Anke to find out more about what makes her tick. What was it about the UK that attracted you to come and study here? I decided that I wanted to live in England when I was about 12 years old. I just loved learning the language and probably had a very romanticised idea I got from films and books. Years later I was studying fashion design in Germany and was very unhappy, so I thought – it’s now or never. It was the best decision I ever made. Do you think it’s important to be somewhere like London, as a creative place, or could you work anywhere? Theoretically as an illustrator you could work from anywhere, as long as you have everything you need to create your work. I definitely feel some sort of ‘vibe’ in London. I can work much better here than from my parents’ house for example, which is in a very small town. Were you very arty at school – what other things were you interested in? I always really liked drawing, although the art classes at school weren’t always very good, which I found frustrating. I was always really good at English, and I liked maths.

If you weren’t working as an illustrator what else do you think you’d be doing? I really don’t know, I think illustration is perfect for me. In another life I would like to be a dancer, I think it must be amazing. I don’t have any talent for it in this life. What was your first ever paid commission? How did you feel when you saw it in use? My first commission was a young fiction book called Roar, Bull, Roar, which I illustrated for Frances Lincoln Publishers. It was surreal to see my work in print for the first time. And a little anti-climatic, because it never quite looks like you imagined. You are seen as being quite successful as an illustrator – are you making enough money to live off or is it still a struggle? I still feel like I am just starting out in many ways. I can live off illustration now and spend all my days drawing and doing what I really want to do, so I’m very happy.

"It was surreal to see my work in print for the first time. And a little anti-climatic, because it never quite looks like you imagined."

with contracts and knowing about finances and of course, promotion. It’s a learning curve but it gives you confidence to deal with all the difficulties along the way. Is there one piece that stands out in your portfolio that sums you up as an illustrator or that you are most proud of? No, not really. Whenever I finish an illustration I’ve already moved to the next thing in my head.

Where do you do your work? What does your desk look like on an average day? I work from home, which I love. I have two big tables that get ridiculously messy when I work, no matter how many times I tidy them up.

We know time is an issue for any freelance artist, but what do you do in your spare time? I like knitting, it’s nice to knit while watching a movie. Sometimes I think of sewn projects for my Etsy shop, but there’s never enough time for those. I really want to make a quilt this year, I hope I can find the time for it.

Do you use an agent, or have any thoughts on using agents? I made a choice to work without an agent, because I want to learn as much as possible about every aspect of the job. I think it’s important to know about pricing jobs, dealing

What advice would you give to any budding artist or crafter looking to break into the world of freelance? I think you have to really, really want it, work very hard and have a lot of patience.

hard work and good luck Emily Miles knows that no job is ever perfect, but in her five years as a sub-editor at Esquire magazine she's gained a true passion for working with top quality writers and contributors. words hannah peel & vicky parting illustrations kathrin myrvang What is your education background? I graduated with an English literature degree from Durham. I then completed a post-grad diploma in Magazine Journalism from Cardiff. How did you start at Esquire? Hard work and luck. I did heaps of work experience all over the place (consumer magazines, local papers and nationals). I applied for a junior role at Esquire while I had a temp contract at another NatMag title, and moved from there. How long have you been there? It has been five years, near enough. What is it like as a job? No job is perfect, but I love what I do. It is as creative as you make it; I have a column to commission and a page to write in addition to contributing to all areas of the magazine and the food and drink content online. Sub-editing is a very underrated part of the magazine. It's far more – thankfully – than simply correcting other people's spelling and grammar: you are cutting,

fitting and crafting text; writing exciting headlines and stand-firsts that really sell the magazine and polishing every piece as much as possible. It's the ‘quality control department’. And luckily, at Esquire we work with some top-quality writers and contributors. Are there any projects that you are particularly proud of? Every issue has something that stands out, but special projects such as the hard-back issue are important for building the brand's profile. What advice would you give for someone trying to break into the magazine or Publishing Industry? Persistence, determination, experience, spell-check. Remember ALL communication you have with a magazine – be it a letter to the editor or an email to their PA – should be perfectly presented to make you stand out. Give people a reason to read your work and to invite you into the magazine. And then, when you get there, always offer to make the tea.

a space to create Mark Nader is a twenty three year old Central St Martins graduate. He was recently involved in setting up an ‘Arts Village’ in Wandsworth for young artists. words & photo mark nader

I have always known that I wanted to ‘do art’ but when I was at school I wasn’t too sure about how to go about it. I come from Reading, where the only option at the time seemed to be doing an art foundation course at TVU College. I looked around and saw that Central St Martin’s was one of the best art degrees you could do in London and decided to go for it. Fortunately I got in and merrily started ‘doing art’! The first year was the usual haze of work and parties that goes by in a flash. It wasn’t until the second year that my mates and I started to think ‘hang on, this isn’t going to last forever and then we will be on our own.’ While you’re at Uni it’s great; you’re having fun, making art and you don’t think at all about how hard its going to be when you get into the big bad world. So basically, we panicked slightly and decided that we needed a space to work in together when we finished our course. My friends Charlie Day, Cate Kappler, Paula Day and I started looking around everywhere for spaces to work in. After a nights out we would wander into a place with a ‘TO RENT’ sign and ask them their prices. We did this for a while until we came to the conclusion we could only afford railway arches, which aren’t great when they’re full of rats, stink of urine and don’t really have any natural light to work with. Luckily, one of our tutors got wind of what we were doing and she invited us out for dinner; we didn’t realise but this tutor was one of the head trustees for the National Federation for Artist’s Studio Providers (NFASP). She wanted to know what our ideas were and why we were doing it, and then offered for us a chance to be guinea pigs on a scheme NFASP were just setting up. She was looking for people like us to approach a large studio provider and say to them we will do all the work, contracts, rent and things like that if you cover the managerial aspects of the site. We do pay rent but it is at a reduced price. This was done in conjunction with an organisation called ACAVA (Association of Cultural Advancements for the Creative Arts).

“While you’re at Uni it’s great; you’re having fun, making art and you don’t think at all about how hard its going to be when you get into the big bad world. So basically, we panicked slightly and decided that we needed a space to work in together when we finished our course.”

We ended up working with them and found a space that was a lot larger than we ever thought we would find! We told them what we wanted to do with the space, wrote a proposal to ACAVA saying that we would maintain and hold community events and workshops, which is part of the ethos of their charity, and they accepted our proposal. The art village is actually just a 1970’s office block; it’s amazing what a bunch of artists can do to a building. Everyone has taken their personal space and really made it their own. Most people have a space of 100–200 sq feet. I may have stolen the nicest part with the glass ceiling (400 sq ft) but I feel that is a deserved perk! The rent is ridiculously low, probably the cheapest in London at just £5 per square feet, per annum. So I rent 400 square feet, sharing with my mate Tim and we both pay £100 a month. If this hadn’t come along I would still be working at home, which is hard, particularly if I’m working with oil paints in my small living room, you just end up a bit high and find yourself staring at the wall for hours. At the Arts Village we have a program of workshop and community events but essentially it is just a great space for artists to work in. The best way I can explain it, I have all the fun setting up a studio space without the horrifying stress of the financial risk. It has been great. It wouldn’t have been possible without ACAVA’s help and it is now a case study that is being taken to a national level. It has already been taken up by a bunch of students in Chelsea, and another lot from Goldsmiths. Those projects are smaller but it is now a project that people can take away and see how it works. The space is also owned in conjunction with WorkSpace who is an arts space provider in London and also Gleeb, a manager development company. Because we have both these names we can take the idea to bigger development companies and sort of say, these guys think the idea is great, maybe you should have a look too. You see a lot of people coming out of arts degrees, taking normal jobs and

Photography by: Mark Nader

Second Life Panda Photography by: Mark Nader

letting the art peter out. In a way, this is why the art village works so well. It gives people a chance to make art and see if it is really what they want to do, because if it’s not your passion, you will soon stop. You have to be really sure that this is what you want to do. Managing the art village is a bit like a full time job, as well as doing my full time job for an art fabrication company and my art; you have to have a lot of energy to be in this industry! As a young career artist you have to be applying for shows constantly and then if you manage to show at one, network like crazy when you’re there. Some of the time people set up their own shows as a way of showing their work. But that isn’t the easiest thing to do. I’m in the process of setting up a show for young curators and young artists, and I’m trying to convince the Kings Place Gallery to let us use their space. This show will also involve a magazine that was started up by a couple of recent graduates that acts as a design space for artists to display their work. It’s printed on

an obsolete photocopier so it’s not exactly the latest technology but you have to get work out there any way you can. I do hope that there will be a time when I can concentrate more on just my work but I don’t ever want to stop championing the need for new graduates to have working space. I think it’s a hugely important thing to have when you come out of university and it stops you feeling like you have just hit a brick wall. The best advice I could give to someone coming out of an arts degree would be to find a working space and make sure you keep working. Don’t lose sight of the concept of your work, keep on engaging with people about your work, keep talking. Get involved in critical nights, even if it’s just you and your mates having some beers and looking over each others work! It’s incredibly hard to be an isolated artist, you can be individual in your practice, but you need to have people around you. Networking is definitely one of the keys to success. Network your arse off!

I would say my top tip is 'be persistent'. Giving up is for losers. When I was at university I emailed about ten magazines for work placements and heard nothing back. Then I bit the bullet and contacted V in NYC and ended up moving there for a whole summer to partake in work experience. I've had so many setbacks in my career but ultimately they've taught me to try harder, to focus.

jodie harsh – dj, club promoter and producer speaker @ futurising

22 g an loyme nt

meet and greet – take time to introduce yourself and get to know everyone, even if they’re not directly related to your role. A smiling face and a brewing kettle is often enough to win people over!

network! – even if your placement doesn’t turn into a paid job, look upon the experience as a way to widen your network of contacts. Who knows when you might need their help in the future?

walk the dog – either way, you’ll be expected to do some of the donkeywork while you’re there. But remember it’s all part of the fun, and hopefully somebody will be walking your dog in the future.

kick start – treat your internship like a real job from the very beginning, putting as much effort in as you would with the promise of a pay cheque.

stay out – it’s so tempting to get involved in office politics, but it’s best to stay well clear. If people are keen to dish the dirt on the boss, ignore them.

just ask! – don’t be afraid to ask questions or make mistakes, you’re there to learn.

be flexible – who knows, you may end up staying late on one or two occasions, but you’ll be fondly remembered for your commitment.

set goals – be efficient from the outset and set your own personal goals. Once a task is finished, don’t wait around wasting time - be proactive and ask.

do it with gusto! – enthusiasm is key and it’ll have a great impact on the office, especially if you’re looking for a job in the future.

the lon o em p road t g in d d win

Get the Knack of…

internships

In the creative industries, internships are an all important way in and you’ll probably end up working for free at some point after you graduate. We’ve all done it – and here are the most valuable lessons the Knack team have learnt so far. And it’s not just how to make a mean cup of coffee … words belinda johnson & egle strockyte

Kevin Braddock on

inside freelancing Kevin Braddock is a freelance journalist who, alongside working on many other exciting projects, has been the Contributing Editor at GQ for over 13 years. We met up with him to chat about the best bits and potential pitfalls of working in the media as a freelancer. We also try and glean any essential tips on how to forge a career in the notoriously competitive creative industries. words hannah peel, alyson stoddart & belinda johnson illustration kathrin myrvang

Was your education directed towards journalism? I studied English Language and also French and Italian. An interest in language is an absolute must if you want to be a journalist. I’ve always been interested in French culture and French literature and I did go through a period of interviewing French bands but that’s about the only time that I managed to put my personal interest in that area to good use! I didn’t have any formal training and I don’t know many people in the industry who did! However, I tend to know people working in magazines rather than newspapers – where a more formal journalism qualification is required. Working in magazines is more to do with your style of writing. What experience did you have and how did it help you know what career to pursue? I was really into music when I was at college. I managed to get to meet one of my favourite artists of the time, Roy Ayre, backstage after his concert. He asked me what I wanted to do with my life after university, so I told him I wasn’t really sure but I was thinking about journalism. To my surprise, he offered me an interview right there and then and I rang him the following Monday morning! My article then appeared in the college magazine and kick started my journalism career. After I left university, I worked on a magazine for a record label and went on to freelance for NME whilst also subediting at Vogue. Later on, I became Features Editor at The Face and Contributing Editor of Marmalade. In 2003 I made the decision to go freelance.

What’s it like being a freelance journalist? When you’re working freelance, you have to build relationships with a lot of different publishers and titles. I love working for GQ and have forged a strong bond with them over the years and really enjoy feature writing for them – which I think I’m quite good at! A magazine like GQ simply can’t employ someone like me on a full time basis because there isn’t enough work to go around, and that’s something you just have to get used to. Unless you work in newspapers, it’s really hard to get a regular desk job as a writer, therefore most writers tend to be freelance. It can be hard to make a living as a freelancer and even though there is a huge media boom at the moment, it’s difficult to plan anything financially. I’ve been through those tough times of being unemployed, but you simply have to have faith that everything will be alright in the end. You’ll need loads of energy for those hectic periods where you have loads to write but also be prepared for those times when you don’t seem to have anything to do. You can’t let it get you down. Freelancers are always too scared to take holidays, but trust me – you absolutely have to if you want to avoid going mad!

” It can be hard to make a living as a freelancer and even though there is a huge media boom at the moment, it’s difficult to plan anything financially.” How do you decide what to write about? When you’re kicking off your career, just write about what you know or what really interests you, if you can. Ideas come to me and then I try and figure out how I can work it into a pitch for a particular publication. When writing, you always have to consider the style and tone of the publication.

For example, The Mail on Sunday’s health section has a defined style – it has to be a factual, news-y feature with a strong lead. They paint the picture, then add the ’but’! As you get older, it becomes much easier to understand editorial voice and adopt the tone of a particular publication but however, you have to be careful not to deaden the story by saying things you don’t believe.

" Freelancers are always too scared to take holidays, but trust me – you absolutely have to if you want to avoid going mad!” My career at The Mail is a great example of the power of networking and making great contacts – I had previously worked with the person who became the Assistant Editor of their health section and one day he picked up the phone and started offering me work. As students, we’re told to network, network, network! Would you agree that this is an important way to start and maintain any kind of career? Yes, definitely. Particularly in my line of work, it’s the most important thing. The media is based on who you know and what you know – it’s all about meeting people and cultivating great working relationships. I’ll admit that I’m a bit lazy when it comes to networking, but you really should make the effort! I went through some really length periods of generating relationships but there are really no rules. Sometimes the phone rings and sometimes it doesn’t. One day you’ll realise that the only people you hang out with are journalists, so watch out for that! There isn’t any kind of science to follow when it comes to networking. You just have to keep meeting people, shake their hands and say ’what can I do for you?’

How important do you think it is to have an online presence? If you are a permanent member of staff somewhere then I’d say you don’t really need one, but if you are freelance it can be a great showcase and archive of stuff you’ve had published. How do you think digital media will change the publishing industry? I don’t think anyone knows the answer to that! I think the biggest change will come for newspapers. I still buy magazines but I tend to always look at news online – I think most people are like that. It’ll be really interesting to see what happens with the news industry and how they can cope with the challenge. If you want people to hear what you have to say then you should publish it on whatever form of media they want. For example, GQ has a readership of 120,000 but not everyone will read a feature in the print version and the content isn’t archived online. As a journalist, you want your work out there, so once the issue is off the newsstands I post the piece on my blog where I know a wider audience can access it.

"Don’t wait to be given permission to work in the media!" If you could give one piece of advice to a budding journalist, what would it be? Don’t wait to be given permission to work in the media! Be brave, pitch stories and ask how you can help. It’s not a closed shop and everyone gets into magazine writing in different ways. There’s no clear path like there is for newspapers; you just have to go for it! The media industry is pretty intimidating so keep a firm group on the outside world and really engage with it. It’s really insular too so I would say; try and avoid having a ‘media’ way of looking at the world – have a normal person’s objective. Above all, love what you do. If you’re passioned about your subject, it will shine through in your work.

the devil’s

in the detail

We investigate how the Internet has opened a Pandora’s box of copyright issues and investigates the effect on independent craft and design. words cat millar belinda johnson illustrations gemma latimer

The Internet! It’s killing the music in- shocking reading but hasn’t really gardustry, television, movies … you know nered much mainstream press attenthe score. But that’s nothing to do with tion. Many designers have no choice craft, right? Sure, at some point, we’ve but to let things like this go quietly, all probably downloaded a few songs they just can’t afford to take legal acor shared a film online and why feel tion. However, for some, the means guilty? There’s always the Robin Hood by which their designs are stolen has defence: steal from the rich to give to finally provided a way of fighting back. the poor. But what happens when the One of the first to detail their feeltables are turned? ings about design theft online was the Take the music industry as an exam- Sydney design duo Made By White, ple: if an unsigned band is any good it’s whose Little Red Riding Hood brooch likely a record company will sign them was poorly imitated by Topshop. They up. That band probably had a Myspace tweeted and Facebooked and lo’ and page, or similar, which contributed to behold it’d been happening to other intheir success. So why is it when inde- die jewellery designers too! Inspired to pendent designers promote their work speak out, Lady Luck Rules OK posted online, they increasingly find that, a blog detailing the numerous designs rather than helping them win a com- they’ve had ripped off, most recentmission, the medium has left them ex- ly a Russian doll necklace copied by posed to intellectual property theft? fashion retailers ASOS. This hot topic Anyone with an interest in art, de- built up around the online community. sign or craft is probably aware of the Tatty Devine – another London based grey area of ‘borrowed’ ideas and may jewellery designer, got in on the action, have even come to accept it as inevita- posting a ‘spot the difference’ collage ble. If you’re talented, people will want of copied pieces and their real counterto emulate you. The art world even le- parts but refusing to reveal the culprits’ gitimises this to an extent through identities. such genres as appropriation art, in Lady Luck Rules OK had a small vicwhich exponents such as Jeff Koons tory in getting ASOS to remove the and Sherrie Levine reinterpret or re- offending article from sale, attributcontextualise the work of other artists. ing this to the effect of social media. Modern art is all very well, but when it Sometimes brand-damaging incidents comes to real life, copying just isn’t ac- like this just aren’t worth the trouble ceptable to the few feisty independents for the big companies. who’ve had enough. However, don’t take this as an adFor a number of years now, web- mission of guilt. Corporate companies sites like You Thought We Wouldn’t have teams of lawyers with tricks up Notice have been naming and sham- their sleeves. Most large fashion retailing the copycats and chronicling the ers buy their jewellery in bulk from countless designs that have appeared Asia and thus can claim no responsia little too similar to previously pub- bility for intellectual property theft lished independent work. It makes for as this lies with the original supplier.

It’s hardly up to them to check every single piece purchased. Or is it? The validity of this excuse could be questioned, why are companies that employ ‘trend spotters’ to keep on top of underground fashion seemingly so poorly informed about independent design? ASOS reacted quickly to LLROK’s blog post and the bad publicity it generated, but what of the profits they had already made from the design? The line seems to be, as illustrator Hidden Eloise found out recently, if the company has paid for a design then they believe it is theirs to sell. In one of the most recent and surprising cases of design theft, Eloise found her work had been copied and reproduced in a line of products for Paperchase. Through blogging extensively and revealing her experiences battling the stationers, the young British artist has found a lot of support. During the incident, Eloise’s tale became a top global trend through Twitter and people outside of the craft community began to take notice, with newspapers such as The Guardian covering the story. But what did this mean for Eloise? Her blog details the less than easy ride. Standing firm amidst an onslaught of excuses and blame shifting she still wonders, “What to do and what to say to a company that have made money out of my own effort.” At the time of writing, Paperchase have yet to admit any wrongdoing and design company GatherNoMoss have taken responsibility. Attempting to circumvent any legal misconduct they sent Eloise a cheque for the design fee received from Paperchase. She promptly returned this, as to cash it would mean accepting payment from Paperchase indirectly, thus legitimising the substandard versions of her designs. In a nasty turn of events, Elosie began receiving some unpleasant emails about the situation and her stand against Paperchase. When she traced the IP address, it went back to the company’s central offices in London. In further fallout from this sorry tale, the offending employee has been fired, although Eloise is not so sure, “Paperchase seem to be happy to just send me a private reply and claim that they fired someone … who else knows the whole story? Not many people I bet, and Paperchase would be happy to keep it that way.” Whilst a satisfactory resolution is still pending, what lessons can be learnt? As LLROK and Eloise discovered, the very fact there is a community of crafters out there who are willing to help is a great asset. While it’s a personal choice to speak out if this happens, it’s comforting to know that should you choose to call the big guys out, there’s a lot of people out there who’ve got your back.

knack ’s top tip s! Copyright does exist on the web so make it clear from the outset that you mean intellectual property business! • Display your © everywhere! • Make sure to exert it by marking your name on all copies of your work, along with the date and country. Also consider the use of Creative Commons licensing. • Don’t forget your text. • Editorial content is covered by copyright. • Watermark your images. • A translucent but hard to remove watermark is an effective way to discourage image theft online, but it doesn’t mean they have to be ugly. • Keep a log of everything you do. • Record and have a copy of everything, including written content that may no longer appear online.

Romily Hammett has made a graduate dream come true, breaking into the challenging film industry and making her own independent films. words hannah peel & vicky parting illustration kathrin myrvang

if it happens to you… Stay calm and gather evidence The first thing you might want to do is write a hysterical email, Tweet about it or shout it from the rooftops. But, first things first, take screenshots! First contact Be nice and send a friendly email. Show them your evidence and request that the offending item is removed from their website and from sale immediately. Back up all correspondence, be the bigger person and don’t let it ruffle your feathers! Think before you act Think twice before reaching for the ‘submit’ button. Heading a revenge campaign at the early stages of a dispute could potentially harm your case. Find out more… own-it.org creativecommons.org ipo.gov.uk youthoughtwewouldntnotice.com

fresh ambitions What is your education background? I did 9 GCSEs and three A-levels and have just graduated from Brighton University with Second class first degree honours in Visual Culture. Why did you get into this industry? I've always loved film, and having come from a drama background, the two subjects were always going to come together. I love creating an idea and seeing it through. With directing you can create a whole vision and allow others to see it how you want them too. What is your next step and project? I've got a couple of projects lined up, a documentary and a short comical piece. Because I’m just starting out I’m trying different genres, I think it

is sensible to play around with ideas because at this stage I’m still not sure exactly which style I want to focus on. It's fun because I’m developing my own ideas and expanding my knowledge too. Is there any particular project or issue that you are particularly proud of? I am particularly proud of the piece I’m currently working on, it is a docudrama based on the relationship between a young homeless girl and a middle aged man. Months and months of research and development have gone into creating the piece. I've been involved from the first development stages so I do feel quite protective over it. We have created a production crew and a great cast, who are all people that want to either break into the film/

TV production industry or need some experience; so it's all fresh talent. What advice would you give to someone trying to break into the Industry? Trying to break into an industry is challenging. I was lucky and have connections and that is what it comes down to. If you don’t have contacts then try and make them; email and talk to people, you might be surprised to find you know someone that knows someone and that could be your entry into the industry. And even if you are not doing the job that you want to do yet, try and keep your interests going in your spare time as this will show your determination. Keep your ambition fresh in your mind and you won't give up!

There isn’t any kind of science you can follow when it comes to networking. You just have to keep meeting people, shake their hands and say ‘what can I do for you?’

CultureCritic showcases the best in arts and entertainment, covering live and recorded music, books, DVD, film, exhibitions, TV, theatre, performance and events.

Try not to leave an event without at least two business cards.

Try not to drink too much at functions and events where you know people will be going!

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networking Let Knack guide you through the minefield that is networking. In the creative industries, it really is about who you know as well as what you know! With our handy tips you’ll soon be talking yourself up like a pro!

Follow us on Twitter and Facebook or sign up for our weekly newsletter and get the latest news and reviews @CultureCritic.co.uk.

words hannah peel & alyson stoddart

Keep in touch with everyone you meet as one day they may come in handy.

Learn to deal with rejection. If someone can’t help, move on.

Don’t be scared of talking to the big names just because you think they won’t be interested, they are often the most helpful!

Always carry your own business cards with you – you never know where you could bump into somebody useful.

Ask open-ended questions when talking with people. Follow through on a referral as quickly as you can.

Lorna Morris making her mark

Books have always played a huge part in my life. It was because of this love for them I first studied publishing and then graphic design with a focus on publications. I love working on handmade books. There is something incredibly satisfying about starting from scratch with empty sheets of paper, filling them, putting them together and then making the boards for the covers. Pulling these semi-finished pieces out of the press is somewhat nerve wracking; you never quite know if it has dried as you hoped. When it does there is a mixture of relief and pride that another piece has worked. Pulling the finished whole book out of the press is the best bit though and I hope to be working with handmade books and book design for a very long time to come. words and photos lorna morris

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Believe in what you are doing and do it to the very best of your ability. tom hunter â&#x20AC;&#x201C; artist, senior research fellow at ual speaker @ futurising

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