Advice from Carlin on voice:
recognise what was around visually when you were younger - understand what it is that gets you going (Laura's presentation was a visual archive of things she found funny, illustrations she hated as a child and other artists she admires.
At uni, Carlin answered briefs with sketchbooks - it's scary to step back and be honest about what works. She was told you can't just do that... it's not a job to make sketchbooks you need FINAL products. Carlin admitted she sulked for a bit (I'm reminded of how I sulked after being told my dolls were becoming samey). After uni she found inspiration by travelling and making big zines, using architectural photocopiers / newspaperclub. This isn't all that relevant to me as I don't really make zines but I know a lot of my peers will want to look into this (Bronte!)
Carlin then worked full times as waitress - less pressure than trying to be a full time illustrator
Advice on children's books:
as you get older it gets harder to play
play is really important for kids books
Carlin finds the most effective illustration is observed people and art that leaves questions
you would ruin somethings if you tried to illustrate them Some text DOESN'T NEED images.
important not to be patronising to kids
trying not to repeat the text, offer something more
Great illustrators are the ones that merge reality and imagination - brilliant at BEING A CHILD
unless you believe the environment really exists, the audience won't believe it (as someone interested in world building I think this is REALLY GREAT ADVICE!)
we should all be looking at things differently. Look at things in the real world but make them better for your world. worlds are unique, it looks different from yours but you can visit each others
you want people to want to turn the page - use devices that keep energy and interest up such as pacing
when trying to illustrate a text: TAKE ON THAT WORLD, THEN TAKE THE WORDS AWAY.
Carlin often struggles with publishers because they say a child won't understand that... she thinks they will!
CHILDREN'S BOOKS ARE BOTH WONDERFUL AND DIFFICULT.
you have the power to show people how you look at the world
Social Media:
social media didn't work for her because she found she was too insecure
calls herself 'old fashioned', NOT being on social media is part of her BRAND and IDENTITY. The fact she is a bit harder to track down and isn't so accessible is part of her allure.
I also asked a question about this, saying that we had recently had a lot of visiting professionals who use social media and that her approach was very different and refreshing in comparison. Did she think she might be losing sales and missing opportunities by not being online? Yes, she thought she probably was, but that they probably weren't the type of briefs she would want to work on anyway. The briefs still come if they WANT HER.
The project Carlin talked about that I found most interesting was her illustrations of iron man. She made cut-out illustrations and built a paper set, working with photographers to capture the images. She had never collaborated at uni but said she found it so exciting to work with different skills and tastes Collaboration opens doors, brings opportunities and pushes you to work beyond your limits
On Agents:
No pressure to have one. Not necessarily essential. If an agent's client list, approach and brand speaks to YOU, if they are RIGHT FOR YOU, then yes you should work with them. But if not, don't. It must be the right partnership and there are lots out there, do your research first.
On Ceramics and Process:
'I am not a ceramicist I've only leaved what I needed to learn' (this reminds me of the Smallfilms approach - where Oliver Postgate learned the bare minimum about animation and the janky, amateur quality of his animations is what gave them charm)
Your work can start getting stale if you don't mix it up.
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