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by Richard

From 1500 to today, we explore the art of Pencil Making with Derwent

January 7, 2012 in For Artists, Inspiration

At Curator we talk a lot about painting particularly – sometimes even at the neglect of the trusty and much loved pencil – a medium that every one of us will have used many many times in our lives, and amongst the first mark-making tools that we were exposed to as young children.

We talked to Kirsty Vickers at Derwent Pencils about the history of pencil making, what makes Derwent still such a cool brand after 180 years, and where they’re going next. Did I mention they also own the largest colour pencil in the world? Here goes…

Dipping

Above: The Dipping process at Derwent.

Could you give us a brief outline of the history and background of Derwent?

Pencil making was invented in Keswick in the mid-1500’s, in the reign of Queen Elizabeth I, following the chance discovery of graphite above the hamlet of Seathwaite in the Borrowdale Valley some years earlier. Legend has it, that on a stormy night the roots of a tree upturned and black lumps of material were found by shepherds. They at first thought it was coal but when it wouldn’t burn they marked their sheep with it. Graphite became very valuable as it was used in medicine and most importantly as moulds for cannon balls. During the reign of Elizabeth 1 the Borrowable mine was put under armed guard to protect the supply of graphite. It was worth (in today’s money) £1500 per kilo. After many years of turmoil, black market trading and plundering of the mine operations ceased in 1890.

In 1795, Nicholas Conte discovered how to mix graphite powder with clay, fire it in a furnace, and produce an equivalent to the Borrowdale material . Pencil makers quickly adopted this method meaning there was less need for the Borrowdale graphite.

Early pencil manufacture took place in the homes of local people , they grooved pieces of wood out by hand. The graphite lumps were sawn into strips and inserted into the wood, then glued together.

When and who was Derwent established by?

The business was established in 1832 by Hogath and Hayes. They became insolvent in 1912 and was bought by Charles Greenwood the local ironmonger. It was renamed the Cumberland Pencil Company in 1916. Today Derwent are owned by Acco, an American company who specialise in office products such as shredders, laminators, white boards, staplers, plastic pockets etc.

Cumberland Pencil Company 1920

Above: The Cumberland Pencil Company, 1920

Is there a particular reason why Derwent is based in Cumbria?

Because graphite was found in the Borrowdale Valley. We manufacture all of our products here and run our business of 90 employees.

Are there rare natural materials there that are perfect for manufacturing pencils?

Borrowdale Graphite was unique in the world, as it was found in large solid lumps. Elsewhere it existed in shale form only.

Could you describe to us the process of how pencils are made?

To make graphite pencils, Sri Lankan graphite is mixed with clay, fired, soaked in wax to make it write then extruded into strips. California Incense Cedar wood (chosen because of its ability to sharpen well) is purchased in slat form. These slats are then shaped with nine or eight grooves, glue is placed into the grooves and the strips are placed into the wood. A pencil sandwich is formed as a second slat is placed on top. The sandwich is then shaped and either eight or nine pencils are shaped from the sandwich in either a hexagonal or round barrel. The process is the same for colour pencils except the mixing stage we combine high quality pigments with china clay, gum and wax. Coloured pencils are not fired but gently dried.

Derwent Pencils manufacturing process

Above: The manufacturing process at Derwent

Is there a certain art and skill to manufacturing them?

It is a highly skilled process, we make 20 degrees and over 500 different coloured types of pencil. Each colour needs to match perfectly to that what was produced 60 years ago. About 30 people are involved in the manufacture and a further 20 to pack the pencils.

How much has this process changed since Derwent was first established?

The process is more automated now but the principles are the same. Many local craftsmen are still involved and we pride ourselves on the quality and length of service our employees have achieved.

How long does it take to make one pencil?

It could be as fast as two days if we really needed a pencil, but on average it take four days. They are individually checked for quality – we subscribe to the ISO9001 Quality System. We have a quality department on site dedicated to ensuring only the highest quality pencils are released for sale.

Why does it take so many people to pack a tin of pencils?

We have four sizes of tin, 12, 24, 36, 72. It takes 4 people to pack a12 tin, 6 people to pack a 24 tin, 8 people for a 36 tin and 12 for a 72 tin. For a 12 tin, one person takes the tin bases out of the boxes and places them on the track. The next two people pack six pencils each in colour sequence. The final person places the leaflet in the tin and the lid on the tin after it has been shrink-wrapped.

Packing at Derwent Pencils

Above: Packing pencils at Derwent

How has Derwent evolved since 1832? What makes Derwent so unique to other brands in the art materials world?

Although we are extremely proud of our heritage and traditions, we are a forward thinking company and highly innovative, bringing to market some exciting new products like the Inktense pencils and block, ink in a pencil! We also concentrate on only making pencils, blocks and sticks so we are highly specialised and greatly skilled in this area. We haven’t spread ourselves too thinly!

Derwent Inktense

Above: Derwent Inktense

How has your product range developed? Do you now see yourselves as being more than just a pencil manufacturer?

We have developed new and exciting products. Tinted Charcoal pencil, charcoal with a hint of colour. Graphitint which are water-soluble graphite pencils with a hint of colour – they truly transform before your eyes and of course Inktense the ink like pencil. Next year will see the introduction of our exciting new Artbar – a triangular shaped water-soluble wax bar, perfect for distinctive mark making.

How is Derwent a forward thinking and environmentally friendly band? Have you made any changes to your manufacturing process or your range to help the environment?

We moved to new premises in March 2008, Her Majesty The Queen, accompanied by His Royal Highness The Duke of Edinburgh, officially opened the new factory on 5th June 2008. This new factory has many environmental features! We operate to ISO14001 environmental standard. Sawdust is collected and used as fuel for our heating system to save gas. We collect rainwater from the roof to flush the toilets. Lights are controlled by daylight and movement sensors to save electricity. We have double rooflight area to maximise daylight and save electricity. And we hold the Queen’s award for sustainable development for a unique, solvent-free painting system.

Our UV or ultra violet light process is a way of painting pencil barrels without using harmful cellulose paints. A light wave cleanly and automatically coats the pencil with clear laqueur. We also use water based paints to paint the barrels of the pencils. We try to minimise packaging wherever possible and use recycled board if applicable.

People are more environmentally aware these days and we are based in one of the most beautiful parts of the country. So we are also aware of these concerns and doing our best to use sustainable products in our manufacture. Our aim is to reduce, reuse, recycle, recover, return and review. Derwent pencils are made from Incense Cedar from certified sustainable sources. The Sustainable Forestry Initiative® (SFI®) label is a sign you are buying wood and paper products from well-managed forests, backed by a rigorous, third-party certification audit.

Derwent Pencil Cores

Above: Derwent Pencil Cores

Where does Derwent see itself in the next 5-10 years? Do you have plans for a new range or a new type of pencil? How do you plan to stay on top of being one of the best art materials brands in the world?

We plan to continue to be the best at what we do and to innovative and continue to be forward thinking and to change with the times. We are already working on our introductions for 2013 and we plan to continue to have new and exciting products ready for launch every year after as well.

How important does Derwent believe drawing and sketching is?

We know that 8% of the population in the UK regularly draw and that 16% of the population like drawing or would like to take it up at some point in the future. So we believe it is important to well being of the nation! “Keep calm and draw things” is our motto.

Why do you think drawing rather than painting for example, is the first medium that young children use? Do you think that it is important for children to be creative in their development years?

I personally believe that pencils are more portable and less messy than paints, so parents love to encourage children in their creativity but with the minimum amount of mess. I know as a mother of two children myself how much pleasure children get from drawing with pencils and I have the satisfaction of no messy finger prints on the walls and no spillage and the threat of paints ruining my lovely furniture! But our pencils that turn into paint by the addition of water from a water brush are fantastic and open an endless world of opportunities.

Why do you think that art students are unfortunately encouraged to move away from pencil work? Do you think that drawing is just as important as painting?

I think students are encouraged to try all different types of media, but I believe that drawing is the foundation of all art.

Derwent Pastel Pencils

Above: Derwent Pastel Pencils

Are there any particular artists that you love who use drawing as their main medium?

There are a lot of fantastic pencil artists around but at the moment we particularly like Diego Fazio, Caroline Bletsis and Janie Pirie; their work is exceptional.

How did you pick the artists that you represent on your website? Why did you chose them?

We don’t choose our artists, they quite often come to us. We are the number one brand in the UK and are widely know. Our Facebook page, Twitter and blog forums are widely followed and people actively want to share their work. Quite often people send their work into us and we ask them if we could display it on our web page. Recently we needed a new demonstrator for the ICHF show in Birmingham in November. So we ran a competition for people to enter showing us a video of themselves demoing our product. All the aspiring demonstrators had to do was submit a 5 minute video, via YouTube, showcasing some fast and simple drawing techniques using one of their favourite Derwent pencil ranges. We had a good response with some very high quality entries and we were able to choose a winner, Beverley Haines.

What advice can you give to someone who says they can’t draw? Do you believe that someone has to be skilled at drawing to be able to produce good art?

We firmly believe there isn’t anyone who can’t draw. All everyone needs is a little bit of encouragement, the right tools and some friendly advice. We actively try and encourage people to experiment and provide all sorts of hints and tips available for free on our website. From leaflets to projects, from online videos to full DVD’s. In addition the museum run workshops and free demonstrations throughout the year. We are available to give plenty of advice. Drawing is a skill, but you don’t have to be a great drawer to produce fantastic art. I do not draw well, but I can produce some great images with help and encouragement.

Derwent Pencil Museum

Above: Derwent Pencil Museum

Could you tell us a little bit more about the Pencil Museum? What kind of things do you have on display there? Why would you recommend someone to go visit?

The Pencil Museum is world famous and celebrated it’s 30th birthday this year. We often feature in the national newspapers, television and national radio. Our Manager Alex Farthing talked to Chris Evans about the world’s longest shaving competition, we have also appeared on the Antiques Road show, The One Show and most recently was used in a film set for ‘Sightseers’, a film to be released next year by Big Talk Productions.

We have 80,000 visitors a year coming to the museum. The highlights are the largest colour pencil in the world measuring in at 7.91Metres long, (25ft 11 and a half inches), It took 18 people 4 weeks to make it and 28 people to carry it into position!

The War pencil, in world war two, the managers were brought in to the factory at night to make secret war time pencils. The pencil looked like a normal eraser tipped pencil, but inside it held a secret, a map of Germany and a compass. There were four pencils in the series each holding a different area map of Germany.

There are also many free demonstration events held throughout the year and lots of family fun activities. A quiz trail for the children plus lots of crafty things to make and do. Then of course there is Sketchers cafe with it’s homemade soup and delicious cakes!

Does Derwent hold any exhibitions or events? What would a visitor be likely to see at one? Could you describe the last exhibition you had any what kind of artists had the work displayed at it? Was it a particular style or theme?

Derwent attend exhibitions throughout the year at various venues across the UK and also at a trade exhibition in Frankfurt. At the UK events we have various areas where we demonstrate products for customers alongside a professional artist who and is able to help customers with questions and demonstrate for them. Customers have the opportunity to sit and have a go with any of our products themselves. We are usually promoting a new range so this year we concentrated on our Inktense Blocks range, we display artwork that has been created using this range so people can see what can be achieved with the product. We attended Patchings in Nottingham, Art in Action in Oxford, SAA show in London and also the Art Materials Live show at Birmingham Nec.

Do you have any exhibitions or events coming up that you would like to tell us about?

We have the same listing of events as we do each year so we will be attending Patchings, Art in Action and Art Materials Live show again in 2012 (the SAA show is not taking place due to the Olympics), but 2012 is also a special anniversary for us as the company will be 180 years. We have events planned in our Museum during the May bank holiday to celebrate this alongside the Queen’s Jubilee and we will be holding a birthday party for our distributors and customers on our stand at the trade show in Frankfurt in January.

We would like to say special thanks to Kirsty Vickers at Derwent for her support and time on this interview. You can find out more about Derwent via their Website, Blog, Twitter, and Facebook.

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by Richard

Why be online? Great advice for artists from Emma McMillan at Gallereo

December 9, 2011 in For Artists

If as an artist you’ve ever wondered how you can get more people to see your work, you’d be forgiven for knocking on the doors of local (or national) galleries. Without a doubt, they’re the first port of call for artists and art lovers alike. But in recent years the internet has opened up the world of visual media on a whole new scale. Now, you can view work in Beijing just as easy as you can pop to your local community arts gallery.

Emma McMillan runs Gallereo, a business that allows visual artists to get their work online and in front of viewers easier than ever before. So who better to ask about the ins and outs of the web, for artists?

Buy Art Online Gallereo

Artists often tell us that they work in a studio and exhibit in a gallery, that they don’t touch technology that often. Why do you see it as important for artists to publish their work online?

I think it’s important to publish your work online because, as a consequence of the times, it’s the only place that you’ll truly have an unlimited audience of people who can look at, admire, and perhaps even purchase your work.

Even if you’re not interested in selling your work, I think every artist at least seeks an audience and/or support that in some way validates what they’re doing. Who, as an artist, wouldn’t want someone from half way across the world to get in touch and say “hey, I saw your painting on your website, and loved it, I’d like to find out more about what you do”?

Do artists need to go out and hire a professional designer or developer to get their work online?

From having now spoken to hundreds of artists about the topic of setting up a website, or becoming engaged in online activity, I know that there are 2 main things that hold people back. Firstly, there’s a fear of thinking it’s all too complex and that they won’t be able to do it themselves, and secondly, there’s cost.

A lot of people overcome the first issue by hiring a web professional, but then they’re stuck with dealing with the second issue. Then there are people who have no way of getting around the second issue, and so don’t even get around to trying to build an online presence because of that.

My response is that, it’s not too complex. There are solutions out there that specifically aim to help people who are not at all tech savvy, or extensively computer literate, and to go hand in hand with that, there are solutions that make it as affordable as possible for those people to give it a go.

Working with artists, I know that spending a huge amount of time on the computer is not high on their agenda, when they could be in the studio making, or chasing their next creative endeavour. So making it affordable, quick and easy to have something that looks great, is really important when working with that audience.

Buy Art Online Gallereo

Building a website to show my artwork is one thing, but how is anyone supposed to find it? Do I need to promote or market my work?

First and foremost I’m going to say that it’s not enough to build a website, and then to sit back and expect traffic to roll in. Just because you build it, doesn’t mean that they will come. The internet doesn’t really work that way. You have to be proactive to get people to visit your website.

However, that doesn’t mean it has to be difficult.

There are lots of things that you can do to get people to come and visit your website and see your work, and a lot of it can be built into the things that you can do as part of your natural day to day activities, both online and offline.

I would say that you should give certain attention to the old word of mouth. Tell people about your website, because they may in turn tell people that they know about it. It’s simple, shouldn’t take much effort, and is effective. Also having business cards made up with your web address so that you can give them out whenever you talk about your website is a good idea – it will jog peoples memories when they find it again later on.

If you’re using Facebook, Twitter or any other sort of social media platform, then be sure to include a link to your website, and make a note of telling your friends or followers if you add new artwork or if you update your news page to include an upcoming exhibition. These little updates are things that take two seconds to do, but could bring a fair amount of traffic through to your site.

If you start to get more comfortable with the internet, then it’s worth looking into Search Engine Optimisation.

This isn’t a black art, and you don’t have to be a rocket scientist to understand it (although I think some SEO companies would have you believe that you do). In the beginning, I picked up a copy of Search Engine Optimisation for Dummies, and I’d highly recommend it. You’ll learn how search engines work: why they show the websites that they do, in the order that they do. You’ll learn about the importance of keywords for your website and how you can use keywords to build great content on your website that will help people find you more easily. You’ll also learn about different ways to be active in the online community, and linking back to your website, in such a way that will

There are a few basic principles that you can follow surrounding the use of keywords on your website, having as much great content as you can on your site, and being active in the online community in a way that allows you to link back to your own website from blogs, forums, community sites and other sites within your niche area.

Buy Art Online Gallereo

What about making sure my artwork looks right on-screen?

How you present your work on your site is really important, no matter what the end goal for your website is.

How long would you personally stay on a website that has bad images? Not long I bet. If it’s an artist website, and the images are bad, you’ll stay for even less time. Having sharp, well lit images that load quickly on your website is really important. If you’re not comfortable taking pictures of the work, it’s worth considering speaking to your local printer, framer or art shop who may be able to help you, or at least offer practical advice.

The only two pieces of advice that I can really offer are – don’t try and photograph anything behind glass, you’re asking for a battle that few can win, and if not for yourself, then for me, please turn the date stamp off on your camera. There’s nothing worse than seeing pictures uploaded with a bright orange or red date stamp in the corner.

Once you have your images, make sure that they’re web-friendly, and by that I just mean that you don’t want to upload a 30Mb image to your website. Not only will it take ages to upload, but it will take an age to load on the website for the viewer. The internet isn’t the sort of place where people have any kind of patience. If something takes more than a couple of seconds to load, you’ve lost them.

While images are going to be the most important feature for your website, you should also make the effort to write something about the work. This will help you in two respects.

1) Search engines love websites with lots of content, so if they can see a lot of text on your website, they’re going to want to list your site for other people to see.

2) People are reluctant to buy things online, without knowing all of the ins and outs, so if selling online is a major focus for you, then information on each work is paramount to helping you do that. People will want to know sizes, materials, whether it comes framed or not, how much it costs or how to contact you about it. Any creative information about the work can’t go amiss either – we still all love to hear about how artists come to make the works that they do, and that little inspirational story might just engage someone enough that it pushes them to make that all important purchase.

Buy Art Online Gallereo

What websites are good to be part of to promote my artwork?

I think everyone will have their own experiences and recommendations for this (so viewers please do leave comments for others if you have any inside tips!) but the few I can think of:

Twitter – don’t be skeptical about this, Twitter is teeming with artists and just by being there and joining in the conversation with other artists or art lovers, you’ll find that natural curiosity brings people your way (remember your website link in your Twitter profile!). I also find that Twitter is a good way to hear about art events and opportunities to get involved, so there are lots of different avenues to benefit from. A word of warning though, don’t just use it to post things that say ‘look at my work’ ‘look at my work’ ‘look at my work’ because that’ll turn people away. Genuinely engage with people on a personal level – fight the facelessness of computing.

Flickr – Upload some of your images to Flickr and again have a link back to your own website. There’s nothing wrong with being part of larger image sharing / art sharing communities, but I think it’s beneficial to have your own online space where you’re not battling against the masses all on the same website. I think the same can be said of places like Etsy and Deviant Art.

There are loads of artists forums and communities out there online, some specialist to medium, some specialist to location, so I think it pays in a lot of ways to be part of these. For example, there’s Painters Online, if you’re based in the UK, which has lots of useful information, links to art groups around the country, blogs, forums, and somewhere that you can show your artwork again, but as part of a larger community.

How can I write my artwork to convert viewers and fans into collectors?

When writing content for your website, as an artist, I think there are a few things that you should consider covering in the copy for your website:

Your artists mission statement if you like – what you do, how you do it and why. I think people like to feel as if they know a bit about you before they’re able to fully engage with what you’re doing.

Exhibition history / gallery list – it doesn’t matter if you’ve never shown at Baltic or The White Cube, people just want to know where they might see your work in person, or where they may have come across you before. Village galleries, art fairs, local group shows – it’s all worth while information to people who could become your biggest fans.

Information about each artwork – online, there should be a dual purpose to your writing. Firstly, online buyers won’t add anything to the basket unless they know as much about it as humanly possible. They want to know exactly what they’re buying, and this is no different to someone going along to Amazon and trying to buy a camera – if you can’t find out its size, and technical specification, you might not be that confident at making that transaction. On the other hand, you may also want to add a bit more about the artwork from a creative point of view – what inspired you to create it, how did you approach the creative process, is this work linked to any key events in your life or the world around you, who are your influences and so forth. Give people something to engage the brain, but also their heart for those of us who are led by impulse.

You can find out more about Emma and her business, at Gallereo.com, or via Facebook and Twitter.

Featured Photo is a wire-tailed swallow. Courtesy of Lip Kee.

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by Richard

Social Media for Artists – an interview with Nixon McInnes

November 13, 2011 in For Artists

Here at Curator we’re on a mission. It’s a mission to spread the word about great art – and by that I don’t just mean the art that we sell ourselves, or art in big galleries – I’m talking about the thousands of creatives that practice their skill everyday and produce outstanding work that is just hard to discover.

Self promotion isn’t just something for artists who are just starting out, unfortunately very few artists get the opportunity to practice full time, let alone get their work shown in galleries that can provide an outlet to viewers and buyers.

We’re changing that. Well, not just us, the invention of the internet has helped quite a bit. But many artists that we speak to every day tell us that they find it tough to promote themselves online – it’s tough to identify what routes to take, how much time to spend, and how on earth to know if it’s having any effect.

As part of our efforts to support artists with online self promotion, we talked to Ross Breadmore at Nixon McInnes, a leading social media consultancy based in Brighton, for his expert advice on the subject.

An Interview with Ross Breadmore, Nixon McInnes

Could give us a rough sense of what Nixon McInnes do?

We’re a digital consultancy. We advise large brands, FTSE 350 companies, large NFPs (not-for-profits) and public sector companies in how to deal with the social web. Fundamentally we try and help improve the relationships between large organisations and the people they serve.

We work with Channel 4, Barclays, Cisco, BBC, WWF, RSPCA, Nectar and a lot more…

There’s 20 or so of us, based in Brighton.

They’re big clients, I bet they must be tough to manage?

They can be, but we believe it’s the big companies that need the most help.

For example, banks are notoriously bad at talking to people. With social media, suddenly thousands of customers are talking, complaining, giving feedback. They have no idea of the benefit of engaging with them, or how to even start. That’s where we come in. We equip brands with the capability to exist online. We’re not an agency, we don’t outsource. We’re like social media Yodas.

Some of Nixon McInnes client list

Tough brands to manage online?

It’s really interesting to me that you describe it as improving a relationship between an organisation and the people they serve. I think that a lot of people view social media (if they know of it at all) within a strictly promotional sense. They are perhaps considering how they might get a message out, but they aren’t necessarily listening?

That’s the really frustrating part for me. Lots of my friends are illustrators, artists, designers and they view social media as a platform to spam people. There’s so much more opportunity than that.

It’s tough, and takes effort/momentum, but as a creative the web has so much to offer.

I graduated in 2001 with an Illustration degree and really believe I missed out hugely because I was five years too early for Twitter, Facebook, Wikipedia

So you feel that the social web has had that significant an impact on a creative person’s ability to get eyes on their work and engage with their viewer?

On the one hand yes. Now you could be sitting in a shed in Iceland, but get your work seen by creative directors in Soho or New York City… On the other hand you have access to the work of so many others. I remember being obsessed by the illustration big shots because all I had was books and other printed materials. Now with Tumblr for example there’s a glut of awesome work coming from all over the world.

Which is of course an issue as you now face a bigger load of competition.

Ross Breadmore

Ross Breadmore

Do you think that the glut of work makes it difficult for particularly creative or innovative work to rise to the surface and get seen? Or is it a natural curation process that happens on each social channel?

Definitely. Curation is key. For every 100 amazing creatives there are a few amazing curators, who handpick the best stuff. Mostly. Sites like FFFFound are brilliant for that. I think the glut highlights the averageness of some work.

Let’s touch upon a few of those channels as you mention Ffffound, because a lot of our readers will almost certainly have been using Facebook for maybe a couple of years, and may have also dabbled with Twitter – they maybe have a couple of hundred followers. But for a lot of people, that’s as far as social media goes. Is it important to get onto the right platform for your message? Or does it end up just spreading yourself thin?

I think it’s definitely about being smart and selective. Facebook for example is simply too big for most things. It’s like whispering into the biggest cave in the world and hoping to get heard.

I’d advise people to find platforms where they identify with the work and the community, to then build up a relationship with that community, and then start getting their work onto it.

Start small and iterate.

How important is that relationship with a community? There’s a lot of opportunity for artists to talk on Twitter about a range of related subjects and to give their opinion – does that really drive any result? I can see a lot of people being worried about the time they can afford to social media.

It’s key. Anyone expecting immediate return shouldn’t bother at all. That may sound harsh, but i really believe it’s the same as questioning your use of a mobile phone. Social media is simply online. Communities are smart and will reward those who put the effort in. Likewise, they will quickly identify and tire of those expecting a quick buck.

What kind of metrics or performance indicators would you typically use to measure the success of any given campaign for a client? Do you think those metrics might translate to anything meaningful at a smaller scale for individual artists?

We’d normally start by asking a client what they are looking to achieve – sales, customer service, etc. For an artist I’d do the same. It might be getting followed by other artists, buyers, galleries. It might be clicks through to an online store. Or it could be something softer, like having a few conversations with important people, enabling some kind of real world relationship.

Threadless

Threadless is a great example of a social network that allows viewers and creators to exchange feedback.

So at the very least social media might be a way to gauge reaction to a piece of work through a conversation, much like in real life?

YES! Soliciting feedback is something that lots of people miss. The Threadless T-shirt community thrives on this, for example. People don’t ask enough questions. Or answer them. Too many people posting links and hoping for clicks.

One of the things I talk a lot to artists about is scalability of their audience. So perhaps they’ve had some great reaction to their work on Twitter and grown an following of 800 people – but there’s this constant wonder of how some people have an audience of 10,000 (or 100,000+). And moreso, does that even matter?

No way. We always tell our clients to avoid the ‘Stephen Fry factor’ – getting hung up on numbers. You could easily buy 1000′s of automated followers but it would achieve nothing. But you could be followed by fifty fans/buyers/colleagues and suddenly it’s a valuable platform.

Relevance is always better than number chasing.

In terms of a long term investment in time, growing a presence on social media channels, do you feel like those channels are going to be around for long enough for it to pay off? Or would you think that other channels like natural search might be more valuable right now. Or is it a mix?

In terms of platforms, I definitly think Facebook has a relatively short lifespan, less so Twitter. However, the skills and general ability to use social platforms will only become more important. Imagine how much more tech-literate each years’ graduates will be be. The competition will get more and more fluent with online, and those who are not may become sidelined.

Again, going back to the phone analogy, imagine not having a phone now. Or email.

So its more about the principles of social media becoming embedded in everyday online behaviour, than the platforms themselves?

Yes. Social media as a term will only last a couple more years, in the same way Web 2.0 is now dead and buried. The behaviour behind it though, is staying. Transparency, immediacy, communication. These are age old principles that are being pushed to the fore by technology. It’s near impossible now to find any web site that isn’t in some way social.

That integration of social media is interesting too – because it can also be difficult to decide where to build your camp, so to speak. For example, if I’m building maybe a WordPress site to host my artwork, I need to get people to come visit it and in a way it becomes its own island on the web somewhere. Is it better to put work directly where people are already engaging?

I think people used to think in a dandelion mentality – getting stuff everywhere. Now though people seem to be more ‘mammal’ – building and caring for one main presence, but cleverly linking it in to other networks. I think for an artist it’s particualty important to have a platform that does your work justice – some platforms may cheapen your work, but may have other uses. But yes, once you’ve got some kind of platform, it’s important to at least investigate and be aware of the areas where others are already engaging.

How do you feel about the idea of honesty? An artist recently asked me how honest they should be on their blog, and I had to pause to think for a minute. For me it feels right to be straight up about everything, but do you think that in some cases it helps to present yourself on social platforms in a more professional light than might be the reality?

This is really tricky. The best practice part of me would say to ALWAYS be honest, but maybe honest is a misleading word. Perhaps always be credible. You definitely don’t want to mislead or present yourself as something you’re not. However many others will be giving lots of personality and if you’re overly guarded or sanitised then this will be apparent.

So personality is important to convey too then?

Yes, but to get the most from having a social profile (and I don’t think it’s a choice not to nowadays) you have to trust that people will interpret you however they will, and that you cannot avoid this.

That said, i don’t think there’s anything wrong with having a professional platform and augmenting this with more personal platforms. It’s impossible to entirely seperate but you can be smart with how you display yourself.

I always suggest to people in the creative industry that they try Googling themselves and see what comes up. This is what others will do.

Thinking back to when we mentioned feedback earlier – I’m wondering if you could give us a little insight into how some of your clients might react to their own feedback from social media? Are there any examples you could give us?

WWF were recently the subject of a Channel 4 documentary, which was fairly critical. In preperation they were ready on Twitter during and after the broadcast and directly addressed criticism and questions as they were made.

They are a fairly open organisation though. For some of our financial clients it’s often difficult to make them appreciate the ‘realness’ of social media versus something accepted like a letter or telephone call.

Dell Ideastorm

Dell Ideastorm has built a strong channel for users to give feedback and present new ideas to Dell as well as vote and see ideas in action.

Is there a situation you’ve seen in which a business has actually changed their policy, product or service based upon the reaction they’ve gauged on social channels?

Lots, though I’m struggling to think of an example from one of our clients, but Dell Ideastorm and My Starbucks Idea were built on this concept and have been massively successful.

Let’s talk about social media at a local level for a minute. I wonder if there’s anything that you guys would recommend for growing a bigger local audience?

Twitter is good for tapping into local networks. Lanyrd is a great platform for finding events locally. LinkedIn is great for making (and keeping) connections and also good for local groups.

Lanyrd

Lanyrd is ideal if you want to see who else is attending that conference you just booked!

What are the areas of growth that someone starting out with social media today might look at for the future? Where do you think things will be in a couple of years, or more?

Mobile. I think it’s already overtaking the PC / Laptop as a platform for online usage. I also think the skills gap thing i touched upon earlier will be more and more prevalent.

The online world is facilitating a different type of working culture – more and more people are freelancing. In the creative field, i really cannot wait for smart creatives to really get to grips with tech.

I also think creatives of all sorts will have way more competition from parts of the world that now are connected (China, Brasil, Russia, India).

More about Ross Breadmore

Ross is a consultant at NixonMcInnes, leading their work with Barclaycard and Nectar and also getting involved with the wider client base. He has worked with large corporate brands for the past five years and enjoys the common challenge of building relationships between individuals and the large, often dysfunctional entities that serve them.

Ross originally studied illustration and retains a creative approach to digital consultancy, refusing to settle for push/pull tactics and instead concentrating on the fundamental principles driving social media such as transparency and immediacy.

Outside of work Ross is a huge cycling nerd and spends most weekends falling off his mountain bike in local forests or further flung trail centres. He lives in Brighton with his partner Claire and a large docile cat named Bowie, and is currently renovating his first house.

Find out more…

nixonmcinnes.co.uk
rossbreadmore.com
twitter.com/rossbreadmore

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by Richard

VIDEO: Paul Wright discusses progression of his work

September 21, 2011 in For Artists, Inspiration, Video

Paul Wright

A few weeks ago we visited Paul Wright in his Leicester studio and talked everything from focus and prioritisation through to his amazing work ethic and painting style. We shot quite a bit of footage, but here’s our first condensed version – Paul discussing his early work and progression to present day.

Remember to check out Paul’s work right here on Curator.

Paul Wright discussing progression of his work, Curator from Art Curator on Vimeo.

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by Josh

Why Blogging Matters (for Self Promotion)

July 16, 2011 in For Artists

When you work in the visual art world, it’s easy to neglect other forms of media. Especially the language of the web – writing.

Why Write?

Above: Why write? Photo courtesy of Rebeccaseung

Let’s face it – painting and sculpture are pretty difficult to represent well online. Instant problems arise when you consider converting large-scale artwork to a webpage, as well as colour accuracy, let alone working out how on earth to convey texture on-screen.

But let’s assume you’ve overcome this. You’ve published some nice photos of your work online, maybe you’ve joined some social networks for artists like Saatchi Online too. But it hasn’t generated any new enquiries, and the number of visitors to your site each month is low? Advertising isn’t the only way to get your work out there.

Fun!

Above: Writing can be fun too, you know? Photo courtesy of fdecomite

So… Why write?

Think about the way you use the internet each day. Most of your interactions involve text, from the web address that you type in, to the search results on Google, to an article that keeps you absorbed for a while.

In comparison, it’s hard for people to describe visual media, and it’s also hard for computer systems to accurately make it searchable.

So text is a big part of the internet. It’s an opportunity to get your work out there and to help people understand each piece. If you’re currently self-promoting, then you’re simply going to have to get good at creating written content in order to attract visitors to your site, your portfolio, and ultimately – make a purchase!

Wordpress.com blog site

Above: WordPress.com is a really great tool if you’re getting started with blogging. In fact, it scales up really well as you (and your audience) grow too.

Why blog?

Rather than creating an online book or catalogue, a blog can be a nice way of organising your thoughts. A blog is just a way of publishing content in a chronological order – think of it as diary or journal format.

But unlike a diary, a blog used for self-promotion is going to be public-facing, which means that you don’t need to say what you ate for dinner – instead, stick to subjects that are relevant to your art practice, art theory, or the concepts behind your particular work.

Don’t be afraid to be human, this is a rare opportunity in which you can actually engage with your viewers, buyers, collectors, gallery owners and who knows who else. Learn to interact with your online audience and open a conversation about your work. Learn to thrive on feedback!

Post to your blog regularly, but not too often, as it can easily become a big distraction from your creative work, so find a good balance between the two.

Squarespace

Above: Squarespace is a paid-for blogging platform, but it’s pretty loaded with features and has a great user interface. It could be a great option if you want an all-in-one solution with lots of great features right ‘out of the box’.

And don’t worry, blogging doesn’t have to cost a fortune either. You don’t have to hire a web designer to get one set up, there are plenty of free, hosted solutions out there. We really love WordPress because it’s very flexible and easy to scale up when you want to expand, but something like Blogger would be super-easy to get started with too.

The great thing about tools like WordPress and Blogger, is that they’re built to work well with search engines like Google. They manage search engine submission for you and let them know when you’ve added a new article. This can make life simple if you want to be seen by a wider audience of people searching for all sorts of subjects.

The other great opportunity a blog presents is a chance to involve your audience in your work itself. Viewers who post comments on your writing will leave both positive and negative feedback that you can (if you wish) take onboard. This could be a great opportunity to get an early opinion on an idea, or show people something you’ve been working on before it goes out to a gallery perhaps.

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by Josh

99% Perspiration? A Look at Self Promotion for Artists

May 31, 2011 in For Artists

It’s a beautiful sunny morning in June, birds are chirping, and outside of your window you can see the general hustle and bustle of people on their way to work. But you’re an artist and like many self-employed people, to an extent, you get to pick what you’re doing today.

It can be difficult for artists especially to treat their work as a business, usually because their work is also their overwhelming passion. And like any passion, our desire is to immerse ourselves in it fully and for as long as possible. Somewhat annoyingly though, getting art sold is a key component of being a professional artist, rather than a hobbyist.

For those who already recognise this and strive to both create and promote their own work, striking the right balance is the elusive key.

Pottery Wheel

Photo: Pottery wheel. Practicing traditional arts isn’t necessarily the most technology related business around, but that’s no reason to not get connected. Photo courtesy Base Camp Baker

Life as an Artist

There is probably a common misconception that life as an artist is pretty easy going, largely involving throwing a little paint onto a canvas occasionally, and collecting a large sum for the effort. The reality however, is somewhat different.

Let’s face it, the standard organisational aspects of life are hardly set up for the kind of work an artist does. Monthly bills, difficulty in securing credit, a need for quite a large working space, and spiralling material costs all lend themselves to a rather worrying time.

With this in mind, at what point do you decide to put down the brush and handle some of the business aspects of being an artist?

Promoting Your Work

Some of us can quite easily multitask, working on a piece whilst simultaneously on the phone to a potential buyer. But for the rest of us, it can help to create a few rules that define our schedule each week, separating a block of solid creative time, from sorting the accounts and marketing ourselves. This could be as simple as defining a minimum of three days per week for creative work and two days per week on the business side.

When starting out as an artist it is very rare that you will enjoy the luxury of any representation from a publishing house, but given time and some self promotional work you can drastically increase your chances of selling a piece independently, or ultimately attracting publishers and galleries who can put your work in front of a much bigger audience.

I have met so many artists who have taken pride in being totally averse to technology, especially the internet. But we live in a modern world, and hopefully the fact that you are reading this online means you are perhaps not amongst this group. Getting your work online is absolutely essential for self promotion today.

Twitter on your mobile

Photo: Twitter on an HTC mobile. Don’t think that being part of social networks means that you have to be bound to a computer all day – take it with you! Photo courtesy of stevegarfield

Start with the obvious, social networking sites like Facebook and Twitter should be a first port of call for starting to promote your work. Creating a Facebook Page with a short biography and some samples of your work, will help at the very least to use the leverage of your friends and family (who should inevitably ‘Like’ your Page) to spread your work beyond those you directly have contact with. Twitter could open up an even more diverse audience if you follow industry related contacts and engage in conversations with established artists and art buyers alike.

Flickr is a great photo sharing site, but you can of course publish your art work on the platform too, and it’s a great way both to meet like minded artists and to get your work into their massive library of fully searchable images.

Less well known sites include Saatchi Online, which offers a chance for artists to create a professional profile and upload images of their work; The Behance Network offers something very similar but with a greater element of interaction on offer between you and viewers with tools like commenting, liking, rating, etc.

Getting the Balance Right

It was Thomas Edison who famously said that ‘genius is 1% inspiration and 99% perspiration,’ and this applies to being a professional artist as much as any other creative business. Consider your art a product that requires effort and a few good contacts to sell. This doesn’t devalue your work, on the contrary, it may be the only way to ever get it in front of anyone else.

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by Richard

Art Against Cuts – Arts Council Cuts are a Discredit to Future Generations

May 31, 2011 in Current Events, For Artists

Since 1994 funding from a national level has been managed and distributed by Arts Council England. It’s their responsibility to work out where lottery funding should be spent in order to foster new talent in the arts and promote our existing artists.

Sadly, as part of the coalition government’s austerity measures the Arts Council has had its funding quite dramatically slashed. Undoubtedly there will be an effect on the ground in our society as a direct result of these cuts, but there could be much further reaching and longer lasting effects to come in the future.

Art Against Cuts

Photo: Art against cuts banner. Photo courtesy popmisa

Scale of the Cuts

Last summer the Arts Council announced £19.1 million of cuts (comparatively total funding for 2011-2012 is £310.5 million). This affects 880 frontline arts organisations that it regularly gives money to and 206 bodies have had cuts of 100%.

What areas does this affect?

Arts Council England distributes funding for all of the arts, from dance to literature and theatre to festivals. But most affected is the visual arts sector that represents about 25% of those bodies who have received funding cuts.

Many of our nation’s most famous and respected cultural institutions have been affected by these cuts including, for example, the Institute of Contemporary Arts, cut 42.5%, Southbank Centre, which has been cut 15%, the Royal Opera House, 15% and the Royal National Theatre, 14.9%.

Institute of Contemporary Arts

Photo: The Institute of Contemporary Arts (ICA), London – one of the larger bodies to suffer heavy cuts. Photo courtesy of danielabsilva

However, many smaller and local arts groups appear to be taking the brunt of these slashes to funding, for example, a 25.1% cut to Junction Arts in the East Midlands, 10.9% cut from A-N The Artists Information Company, and a massive 60.8% from the Voluntary Arts Network in the North East.

The biggest slice of the cuts came down on London with 49 of the 206 groups receiving 100% cuts but perhaps funding may have been slightly heavily weighted toward cultural institutions in the capital.

How might this affect the future of British arts

We are all personally feeling the pinch at the moment and if you’ve watched the news for even a minute in the past few years you will know that no area of government spending has been totally exempt from these austerity measures. Though, I can’t help but think what damage this scale of cuts may be causing to local communities right now but perhaps more importantly the type of culture in the future society that our children will live in.

The coalition government have frequently talked about the inheritance of debt they received from the previous government, and the inheritance of debt that our children will be saddled with as a result of our generation’s spending. But what about cultural inheritance? Some of my fondest memories as a child are of visiting fantastic museums and galleries but also getting involved myself with some of the local community arts groups – both in music and art, that children growing up now may never have the pleasure and excitement of being part of.

Perhaps the question is what will happen to many of these community arts groups in the coming years. In some cases, some may benefit from charitable donations from individuals or will find funding from corporate investors, but my guess is that this will be an exception rather than the rule. If we feel strongly about the importance of our cultural heritage in Britain and the role it can play in enriching the lives of future generations, then we must look closely both at some of our national landmark institutions and also those small groups working close to home, and either get involved ourselves, donate or buy works of art where possible, or ensure better funding is available in the future.