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    I have of late been looking through Anatomy books, since going to an Art tutor, but I'm finding them quite dreary. I just wish I'd done all the anatomy studies during my A-level, rather than just before going to Uni. I also have a couple of 'How to draw books', but they're all about manga. (As I was a huge Anime/Manga fan, but now I'm trying to vary my influences. Though I still like the idea of the Writer and Illustrator being the same person, it fits my ambitions in storytelling.) One method I've been trying for the last 8 months is to frequently go to life drawing classes (once a week at a minimum), though I've found without prior knowledge to anatomy you can make parts of the body just look like bags. (Especially with the hands, where it's hit and miss)

    One of my worst problems is to jump head first into a drawing, without planning properly and then wasting hours trying to rescue the drawing.
    Anyway thank you for the reply Nick.

  2. View Conversation
    Actually, that was a great reply thank you very much. And sorry about this extremely late reply. I never noticed you'd written a reply, sorry.
  3. A lot of folk do just as well, if not better without, Mussel. It's all about what suits you. I've been lucky with my guys so far, but I have friends who have had less fruitful experiences. It's amost more about finding the right agent for you than finding just any agent. I feel sure that with your attitude you will do great, whichever way you decide to go.

    All the best with your luck and timing.
  4. very much appreciated!…I figured that it would be a lot like you mentioned with it being about "Timing" as much as anything else. I'll keep that concept in mind as I get my affairs sorted and the like, not to mention building a portfolio worthy of representation. I see finding an agent as being a very crucial step in making it in this industry. Either finding an Agent or finding a studio.

    Thanks Again!!!
  5. Last note - I've not been with my new agency long enough to know how well it will work yet. The initial signs are good. We seem to get on well. That's important if the business relationship is going to last.
  6. 2)and 3)
    My agent now dead, initiated most of the work I have had down the years. His extensive network of contacts within the publishing world and other circles kept me busy for most of the 29 years I was with him. He would tout my wares and speak in glowing terms about me, where if i did that, you would just think I was a big head. He would negotiate contract, chase late payments and even buffer me financialy on occasion with advances on fees we knew were coming. He was much more than an agent over the years - he became a trusted friend. I was extremely lucky though - He was just that sort of a chap.
    At the same time, if anyone approached me directly, I had the choice of taking on the work either with or without his intervention. We did not have a written contract that forbade it. Not all agents are that flexible.
    He took 25% of the fee (fairly standard I hear) and I never resented it because of the work I know he put in on my behalf.
  7. 1) I was incredibly lucky in that I met mine at the end of my first year at art college and he took me on then. It really was (and still is to a great degree) a matter of timing.
    He died this year and I decided to stick with this way of working, which meant looking for someone new. Some publishers I work with suggested a couple of names who they thought might have openings in their portfolio, but the timing was wrong for them. They didn't want someone with my style - or at least they already had illustrators who already filled that role. We are talking about general illustrators agencies here. It may wwell be different if you approach a specialist agent.
    I had some work keeping me busy, so rather than kill myself trawling all the many possible avenues, I have to admit to plumping for a local one that I'd heard good things about - and they did take me on. They had an gap in their portfolio..
  8. Thanks I've had the chance to research agents a bit but haven't had the chance to find out from artists who have agents, as far as the questions they are kind of basic ––

    1. How difficult was it to find an agent…ie "getting your foot in the door"? were they looking for a specific style?

    2. How much of the business end do they take care of and do they really make finding gigs that much easier?

    3. Did you have to search for gigs as well or was it all through the agent?

    these should be the it…thanks again, it's very much appreciated! I've looked into finding an agent but I haven't quite found one yet that specialized in the kind of work that I produce, plus I need a bit more experience, but these answers will be very helpful.
  9. Sure you can.
    Not sure how much I can tell you. I had the same agent from college up until his premature death this year, and now I've signed with a small local agency in the UK. What woud you like to know? I'll see what I can do.
  10. Hi, I came across a reply of your in the Art Discussion Forums - "Just got my first gig for a childrens book, got a few questions" and you stated that you worked with an agent most of your pro career, anyway could I shoot some questions by you about Agents?
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About Nickillus

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Nick Harris illustration SKETCHBOOK GALLERY
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