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UAL's Creative Enterprise Awards is back! As part of Enterprise Week 2010 and now in its second year, ECCA are once again looking to acknowledge and celebrate the latest crop of enterprising young creatives from UAL to follow in the footsteps of last year's winners.

There are four categories you can enter:

Successful freelancer

Outstanding new business

Most Enterprising project

Best Social Enterprise or Ethical Business

So if you, or someone you might know, fit the bill then you need get your application in ahead of the deadline on 22 October 2010.

Click HERE to find out more.

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I was recently at a talk by artist/designer Tom Price. Tom's design approach was about using 'chance as a tool'. He designs, or rather, creates an environment whereby he allows the element of chance to take over the outcome. He also incorporated digital technology in the process – for instance, for one of his chair designs, 'Heightfield Chair', he started out by making pencil markings on a piece of paper, and used the Rhino software to convert the 2-dimensional sketch into a 3-dimensional design.

Using 'chance' and digital technology as design allies, Tom produced brilliant outcomes which fused his fine art background with experimental thinking. As much as Tom is an artist, a designer, or a 'designer of specialised arts products', his ingenuity lies in the way in which he designs the process and allows the beauty of chance to take over.

Anything can be a source of inspiration, if you want it to be – from organic forms in nature (as in Gaudi's architecture), to pencil markings on a sheet of paper. Similarly, entrepreneurial opportunities exist everywhere, and looking at the plethora of online and digital tools these days, anyone can become a product designer with free open source software and affordable prototyping services such as, Shapeways; sell your creations through online shopping websites such as, Etsy and Shopify; showcase your talent on Vimeo, YouTube, Flickr, Jotta, etc; print your own namecards on Moo; publish your own book on Blurb, and raise your own funding through crowd-sourcing.
To learn more, look up some of ECCA's resources on:

•Self-Promotion

Making the most of social media

Self promotion in a digital age

Self promotion and selling yourself

•Selling Your Works

Selling online, knowing the rules
Finding your route to market as a designer/maker

Selling to buyers as a fashion designer

To discuss how to turn your creative ideas into sustainable enterprises, book an Advice Session with us today!

Pei-Chin Tay
ECCA Enterprise Officer

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Back in March, we asked University of the Arts London students to submit artwork to go on a fresh set of postcards to promote ECCA around the theme 'enterprise'. The response to the competition was superb and we at ECCA had great fun sorting through the entries and arguing over the eventual 12 shortlisted entries.

We were also thrilled with the public vote after receiving over 1,000 votes from the ECCA audience. And so it is with great pleasure to announce the three winners of the ECCA Postcard Competition 2010 are:

Laura Hirt
Kazuko Morishita
Ellen Huang

Well done to all those shortlisted and commiseration to those who narrowly missed out on the top three spots. And remember, there will be more similar opportunities to make money from your creativity in the future so watch this space.

 

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Alexandra 'Lou' Plesner, one of our Futurising student bloggers shares her impressions of the How To... Get your product off the ground event.

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Alexandra Pesner, one of our Futurising student bloggers shares her interpretation of the How To... Be an artist event.

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Artemis Evlogimenou, one of our Futurising student bloggers, shares her impressions of the How To... Find your customer and make people want what you've got event.

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Artemis Evlogimenou, one of our Futurising student bloggers, shares her impressions of the How To... Get into experimental & live events event.

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I''ve largely worked on creative projects by myself, and at times have felt a little isolated by the process (not to mention having to do all the work yourself can drain your energy!). So I wanted to find out how easy it was to be part of a collective, and how different it may (or may not) be from setting up a business.

The talk, How to Set UPA Collective - AlthogetherNow,was given by the founders of Mill Co (a creative talent agency which creates teams to meet clients briefs), members of Nous Vous (a graphic design and illustration collective) and a member of Photodebut (a photographers collective). Each shared a mine of tips, stories and advice – so I scribbled as many as I could down for you!

Working with friends and other creatives

It can help and be a lot of fun for you to work with friends who you get on with and who work in complimentary ways to you. Having a range of artists, each with a different specialism, can help when delegating different work and brings more skills to the table.

However, a little tension can occur when it comes to doing the not-so-fun stuff – invoicing, budgets, and more corporate work! Nous Vous suggested that for each project, a different person in the collective is designated as 'Project Manager' and they work with the client /business side of the project more.

Sometimes issues that happen at work can be carried out into out-of-work time, and you have to be careful not to talk only about work all the time with your collective friends! Creating some kind of boundaries between work and socializing may be required. Holding scheduled meetings can be an important way to deal with any issues involving the collective, rather than letting them carry over into the pub after work-time.

Maintain perspective – and make sure you're enjoying it. Being part of a collective is about getting satisfaction from it, and fulfilling a need you have.

Getting your work noticed

'Do stuff and do it where people can see it' - be visible and active.

To be part of a collective or group helps in practical terms with networking - to get yourself on the 'radar' and also to get help from others that might be harder to have access to working individually.

Try all sorts of angles to have your work noticed by potential clients - don't just send examples of your work via email or link to an online portfolio, sometimes mailing postcards or sending letters can have an impact. Follow up any contact, be persistent and ask for the right person who will get you the opportunity/client that you want.

Finances

Once you do have a commission, structure your time and make sure you don't spend a week immersed in a project that will only make you £200!

Also, depending on the size of your collective and how many artists will be working on a project, the commission payment (say £300) will need to be split amongst you, so you may individually only be paid £75. The collective may not necessarily be a huge money spinner, but if you weren't part of the collective you might not have been able to work on particular jobs.

Nous Vous have a collective 'fund' they put some money into to help with exhibition and material costs - useful if you need a bit of money for a project before you get paid. Or each member of the collective could add in an equal lump sum of money to make a project happen.

Mill Co makes money from the commissions they get from matching creative talent to business clients needs, rather than from creating artistic work themselves. This could be a different, additional source of income to do alongside making art.

The Business Side of the Collective

Make sure you have contracts drawn. Be careful with copyright. Be clear about what you're doing/what they expect from you and what you expect in return. Agree terms from the outset.

Plan more time and money than you think you'll need.

One more thing…

Make the most of being at college! It's great for open, peer feedback, and to help re-evaluate the direction of your work and where you want your career to go. Art school is great to experiment, get feedback and inspiration from your peers and to use cheaper, available facilities. Milk it!

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I attended Futurising, a two day arts graduates festival set across four buildings in Shoreditch, East London (29th – 30th June 2010). Upon arriving I stumbled upon a patch of grass with deckchairs outside to chill, and handed a free 'Be Stupid' bag from Diesel - great! What a way to start a graduate fair. Although this didn't feel like a regular grad fair.

I got to wear 3D glasses and watch the new SKY 3D TV, and wove yarn into a large dome (the overall concept was to represent different art disciplines with different yarn…). Attendees were encouraged to leave positive messages for recent graduates on the Knack at the Shack message board, and I ran into a friend who was working at the event supervising a group of stewards, resplendent with his own security guard - style earpiece!

Let's put the frolicking to one side for a mo – in truth I was there to find out more about the options and processes involved for those wanting to work for themselves and/or set up their own company. While there were stands with recruiters and education institutions, I also found Own It, UnLtd and Skillset manning stalls to provide information and advice on how to protect the copyright of your work, have access to hired workspace and set up freelance in the media industries. Their websites alone have a wealth of information available to those wanting to be self employed, but it was good to speak to them face to face and run through with them what I did know, and what I need to skinny up on!

To me it was really refreshing to attend a graduate fair that catered for people who want to strike out on their own and have a proper talk about it. Too often grad fairs can turn feel like a trip to a job centre, thrusting CV's into everyone's hands! Futurising was much more sedate that way and about sharing knowledge, helping the individual and providing a broader range of options. Oh, and to have a good time too!

For me, Futurising has given me food for thought about starting a business and what I'd want to provide for clients – a product, a service?! Would considering myself freelance feel better to me than setting up a 'business' as such? And also to consider widening the range of tasks I could hire myself out to do for others – to be flexible. Something that really came through to me was having confidence in your business (whether it's a product or a service you provide for others) – and to enjoy promoting it to everyone! If you are confidant in the work you do and enjoy it, then you'll be happy to promote it and generate more business.

Sarah

p.s I pitched an idea to Diesel's 'Be Stupid' competition - a zombie version of Romeo and Juliet. Some guy sitting on a sofa nearby overheard and declared'I'd watch it!' - I must be in with a chance!

Photography by Ana Escobar

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For many who attended Futurising last week, most could be forgiven for not knowing exactly what to expect as they bore down on the Nicholls & Clarke building at the heart of Shoreditch. The event, like nothing that had gone before it, promised to be 'the first opportunities and recruitment festival specifically tailored to the needs of creative graduates' offering a 'one-stop shop of opportunities, advice and information for all future and current creative graduates from all universities across the UK.'

Sure Futurising took the traditional careers fair formula and gave it a shake to make it fit the ever shifting landscape that is the creative industries, but how do you explain it to those who weren't there?

The answer came halfway through the opening day when a sun drenched Tuesday witnessed the twittersphere light up with enthusiastic chatter and chirping with visitors eager to share their experiences so far. With the word out and the Futurising hash tag bouncing and rebounding around the social networks of the attending young creatives so the crowds and the clammer grew.

After two jam packed days came the closing of the show and now many have begun reflecting on what had been. So here are the pick of the blogged accounts from Futurising:

• Moving brands
• Derby Creatives
• Pants to Poverty
• Terry Freeman
• Knack
• LCC Head of College blog

Finally, get a great view of the event as snapped by the Futurising commissioned student photographers on the Futurising Flickr photostream

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It was right at the very end of the Futurising exhibition that, for me at least, the most exciting thing happened. UnLtd(http://www.unltd.org.uk/) were offering an unbelievable grant of up to £5,000 to help a young person start their own social entrepreneur business... and we, the audience, had to pick the winner! I wasn't sure I was up to the challenge, but I took my seat, eager to hear the three finalists pitch their dreams.

The sponsors Unltd are a UK wide charity that has already helped 7000 people in the seven years it has been running. The charity helps mentor and sponsor young social entrepreneurs to bring their projects to life and describe their mission as "to reach out and unleash the energies of people who can transform the way in which they live."

Katie from Unltd introduced us to the expert panel, who would be giving their professional opinion on each pitch. Cyndi Rhoades is CEO of fashion upcycling company Worn Again (http://www.wornagain.co.uk/).She firmly believes that "every product has a story to tell" and leads the company in its mission to find innovative and cost-effective solutions to corporate textile waste. Worn Again makes incredible clothes out of unusual fabrics - at the moment there are raincoats made of a Virgin air balloon and bags reconstructed from Eurostar uniforms available to buy in their online shop!

Richard Tyrie is a trustee of UnLtd and was one of the first businessmen to jump on the dot com bandwagon, joining the UK's first career site, Taps.com. His company is best known for launching www.jobsgopublic.com, a career site that attracts over a million visitors a month and is one of the UK's most popular recruitment sites.

Natalie Campbell combines broadcast journalism, consultancy and film-making alongside her work as an UnLtd trustee. She's been creating video blogs for up and coming entrepreneurs and seems to cram a lot into her hectic schedule!

After introductions, it was onto the best bit: the pitches. Each person had five minutes to pitch, which was then followed by the panel's opinions and a few questions from the audience.

Tom Rendell had the hard task of going first but talked confidently and enthusiastically about his scheme. Have you had an amazing idea that you can't don't have all the necessary skills for? Or do you want to lend your talents to an existing project team and gain some useful experience? Open Society (http://open-society.co.uk/) might be your answer! The project is a network of teams of young people working together on creative projects, with funds available for some of the best.

40 people are already involved in working in teams on Open Society and Tom was looking for a grant of £4,000 to expand the project beyond London and to keep it free for users. The panel, especially Richard and Natalie, were concerned that his focus was "too studenty" and warned Tom that he needed to expand his vision to include others, saying that the projects would benefit from a wider taskforce.

Eva Bayford followed, with an assured pitch about expansion ideas for her on-going project. Eva has worked for fifteen years as a film-maker, barmaid and events promoter and currently runs The Bootleg Bus bar and Cinema, which cleverly multi-tasks, selling alcohol and projecting films on the side of it!

She wants to work with young people in disadvantaged areas to start a community cinema, working first with young people ages 13 and up to make short films and then screening them. Eva says that "the cinema is uniquely powerful in the way it allows you to represent yourself" and asked for £4,500 to buy a better projector and PA for the bus and to contribute towards film-making equipment.

Natalie said that Eva needs to "bring more people on board and engage the community more." Eva agreed that this project needs to be about "bringing the art community and the everyday community together." Richard liked the idea, not least because he's a Peckham man himself and that's where Eva plans to start!

Last but not least came Alison Alexander. Alison's project is an inventive idea to create awareness for the mental illness dementia, which, as Alison says "breaks down the connections between one memory and another." 1 in 3 people over 65 in the UK will die with dementia and Alison's own personal experiences of dealing with her grandmother's illness prompted her to start Genius Sweatshop (http://www.geniussweatshop.com).

The project involves getting families of all ages to work with circus projects which Alison says "are physical and get people engaged" and puppetry shows. Alison says that juggling fires areas in the mind proven to hold back the symptoms of dementia, helping those who suffer, while simultaneously raising awareness and creating beautiful memories for the families that get involved.

Richard advised Alison to try contacting her local Primary Care Trust, saying they may be able to help. Cyndi said that Alison's project could be a nice sideline for a bigger charity, while Natalie was worried about the sustainability of the project, saying "You need to think about your story, your message and your business model."

Voting was a hard decision, especially with so much money at stake, but I finally managed to decide. It was a close run, but the winner was... EVA! She was absolutely delighted, saying "Now the hard work starts. I can't wait!" Commiserations to Tom and Alison but congratulations are still due for their hard work. They did get a free meringue from the UnLtd team, however, and gracious winner Eva kindly offered them both a free drink from her bus!

 

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With Futurising looming large on the horizon it makes sense to give a quick preview of the elements which are particularly pertinent to the ECCA audience. Furthermore as Futurising is being held for the first time this year and is in itself a unique event means you'd be forgiven for not knowing exactly what to expect.

As one of the many people working on the preparation of the event to be held in the old Nicholls & Clarke building in the heart of Shoreditch I'm going to try my best to give you the inside track. With over 100 exhibition stands, one-to-one advice sessions, 'how to' presentations and headline talks in makes sense to formulate some sort of battle plan before making the trip to east London at the end of the month.

Before going any further if you haven't already you need to go and register yourself for the event. Registration in free ahead of time and can be done by visiting futurising.org or clicking HERE.

Now that you're registered, allow me just to clarify a few points. Firstly not all events are free. Both the headline talks and the 'how to' presentations both carry a charge of £6. For these events it's strongly advised that you book your place in advance. Although booking is available on the day at the reception why not save yourself both the hassle of queuing and the disappoint of finding out that your chosen event is fully book by signing up early for the events that are particularly relevant to you to avoid disappointment. The Futurising website allows you to filter events by discipline so there's no excuse not knowing exactly what's going on.

One-to-One advice session: for those unable take advantage of ECCA's free one-to-one advice session, namely those who have been graduates of UAL for more then three years, this is a great opportunity to get professional advice from specialists tailored to your chosen discipline within art and design.

Jotta's Me vs. We event in 'The Shack': freelancing can often be a solo pursuit and it's often be hard to making the meaningful professional connections you need no matter how strong your networking skills. Jotta aims to help you collaborate with your fellow creatives by providing a collaboration matching service. Whether you're a set designer looking to hook up with an illustrator or a fashion designer on the hunt for a filmmaker Jotta will help put you in touch with the people you need to reach your creative goals.

Exhibitors: there will be literally 100s of exhibitors all vying for your attention at the event. If you are looking for go into business for yourself rather than looking for a job then some exhibitors will be more useful to you than others. For a full rundown of partners already confirmed for the event, click HERE. Why not compile a list of exhibitors you definitely want to meet? I for one would definitely want to make sure I spoke to the guys from the AOI (Association of Illustrators).

And remember, its not all work, work, work. Whether its taking part in one of the interactive exhibits going on in The Shack or chatting with friend in the Diesel sponsored cafe area its a good idea to pace yourself to guarantee you make the most of the opportunities on offer.

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ECCA's small step to conquer the world…

It started with some hiccups (volcanic ash, BA strike…) before we finally took off for Beijing, for the London College of Fashion (LCF) collaborative project with Beijing Institute of Fashion Technology (BIFT). As part of this exchange funded by the British Council, ECCA was invited to deliver an enterprise start-up workshop at BIFT.

Besides the warm weather, we (Gemma Robertson of LCF's Fashion Business Resource Studio and myself) were welcomed with tremendous hospitality by the staff and students at BIFT. Also, much to our surprise, we were greeted by a larger-than-life banner (which was literally taller than me) promoting the ECCA workshop! After a copious amount of time spent on translating the workshop presentation, worksheets and video clips into Chinese (Mandarin), I finally arrived at the workshop.

The 2 day 'From Concepts to Concrete Businesses' workshop was divided into four main parts:

1. Yourself - understanding and translating your aims and values to your customers
2. Your Creative Idea - promoting and marketing yourself and your business
3. Your Network - knowing the right people and seizing opportunities in a global context
4. Your Market - reaching your target audience through identifying and developing your marketing strategy
5. Your Project Plan - identifying and planning resources to deliver your project/business effectively and timely

We began with the NESTA 'Values' game, which got the students excited, and one of them commented that 'Values' was something that she hadn't really considered before, so it was helpful to start identifying that and recognising the need to fulfil one's values and motivational drivers. I was pleasantly surprised by the insightful questions posed by some of them, and the creative/futuristic ideas generated in the workshop exercises!

Even though they claimed that they didn't have much knowledge on enterprise development, a number of them were familiar with the 'Blue Ocean Strategy' in business innovation. Most of the business cases were presented eloquently and argued in a well-rounded manner, although they didn't have much time to develop them.

At the end of the second day, they have not only translated their creative ideas into concrete plans, but have also made new friends along the way. I hope the workshop was the beginning of a collaborative process between the different levels and creative disciplines of BIFT.

As much as it was a learning experience for them, it was also a valuable one for me. What was particularly interesting was the difference in some of the concepts – for instance, 'freelancer' was interpreted as 'freedom worker' and 'crisis' was made up of two Chinese characters, meaning 'danger' and 'opportunity' – which appeared more forward-looking.

Beijing, being an incredibly massive city (with bicycle lanes wider than London's bus lanes) gives one an immense sense of spaciousness and freedom. Compared to Shanghai which is the commercial centre, Beijing is the cultural hub and is charmingly so. It is full of impressive historical monuments (Forbidden City, Confucius's Imperial Academy) which seemed to blend in seamlessly with the people's daily lives.

There is a strong but quiet sense of progress, and passing by the iconic CCTV building one day, made me realise how anything seemed possible there. It was indeed an invigorating and inspiring experience, and I surely hope to be back there again soon.

Pei-Chin Tay
ECCA Enterprise Officer

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Voting is officially OPEN for ECCA's March Postcard Competition!

Back in March, we asked University of the Arts London students to submit artwork to go on a fresh set of postcards to promote ECCA around the theme 'enterprise'.

The three winning images will be decided as a combination of the public vote and a panel of ECCA of nominated judges. You can vote for as many of the shortlisted images as you like but you can only vote once for any given image.

View the shortlist and pick your favourite HERE

Voting closes 10am on Monday 7th June.

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ECCA are looking for three images to use ontheir new postcards.Three images will be selectedwith each winnersreceiving £75.

Competitions are a great way to expand your portfolio andboost your CV with a chance to earn some money at the same time so I can see reason not to get involved.

Click HERE to find out full details and submission.

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Interview with previous 'Making Money From Your Creativity' Winner - Rafael Pavon

Q. From your ECCA profile it sounds like you have done some great work since the competition; collaborating with film maker Ricardo Uhagon and winning a competition to shoot one of the commercials that will appear in the Watchmen movie. Would you be able to talk a bit more about your freelance work since the ECCA competition?

Q. Do you have any enterprise related advise that you would give to other students? Maybe how they can earn money from their creativity?

A. I'm really bad with advices but if there is anything that I think it could be helpful for a student, in terms of enterprise and money, is to be really patient. Go step by step, slow and steady. Time goes faster than you think and if you start with a small step, you will be surprised how much you have walked in one or two years.

 

Q. Was it a hard experience getting into freelancing work?

A. I found the transition from university to the enterprise a bit tough, since you find yourself with lots of ideas, projects and motivation but you miss the structure and knowlege that you need to develop them. That might be a bit frustrating in the beginning but, again, if you go step by step, you will sort it out soon and understand how it works.

 

Q. What kinds of methods do you use to promote yourself? For example; websites and networking events.

A. I find a website or online portfolio the most important thing to promote myself. It shows your work and it's available whenever someone needs it which is the most basic thing you need to find more projects. We show our reel in studios, music labels and advertising agencies and after that, if we feel that it wasn't impressive enough, we focus ourselves in improving the work and create more.We were really lucky that we've been working almost non-stop since we started so there was no need for a bigger promoting tool but we are preparing one for mid 2010.

 

Q. How do you use your creativity for enterprise?

A. In our case, we try to focus everything around creativity. Sometimes it's not easy to fit it inside a project or a workflow but we do our best since we believe that there wouldn't be any future for us in this industry if we trade with this.

 

Q. How was your experience at Central Saint Martins?

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Some tips on copyright from Protecting your ideas on 8 March, part of Preparing for your Degree Show

Artemis Evlogimenou is a 1st year Performance Design and Practice student at UAL and a winner of our Making Money from your Creativity competition.

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What art collectors look for? at the London College of Fashion on 10 March 2010 gave a practical insight into how collectors buy work at exhibitions.

The first presentation started with a quote by Jean Baudrillard – "What you really collect is yourself".

Collecting art involves personal affinity between the artwork and the collector, so you can find the connections between the artist, the artwork, and between the artwork and the art collector. Richard Greer related his experience of collecting art – he enjoys building relationships with artists and often collects from those whom he knows well. What he enjoys about collecting and having conversations with artists is that they often changes the way he sees things, sometimes in a 'weird' way.

However, he expressed that it can sometimes be a selfish act of taking away something from the artist and also depriving other viewers. He personally thinks that art collecting comes with certain responsibilities, such as, mentoring young artists, giving financial support and showcasing the collections.

The other speaker and fellow art collector, Anita Zabludowicz, also related her interest in nurturing young artists whose works she is collecting. In particular, they share the common liking in 'juxtaposition-ing' works by emerging artists with more established ones, and hopes to 'elevate' the former and the way others perceive their works.

Some advice to emerging artists are to stay true to themselves, be passionate and determined in whatever they do, and also be careful when pricing their works and working with galleries as that can have profound impact on their careers (refer to Richard Greer's "How to work with a commercial gallery" article on ArtQuest).

It is also key that the works are executed to a high level, which not only helps to attract interest, but also shows the artist's dedication to his/her work. Beyond the graduation shows, artists can take the initiative to organise group exhibitions or private views, form/join networks or communities of arts practitioners (evident in the YBAs), to continue the momentum and spirit of exchange and collaboration.

Both Richard and Anita often visit graduation exhibitions to pick up new works. Their advice is not to approach them directly at the exhibitions, although they do enjoy having the graduates there. Having the physical presence is very important to arts practitioners, possibly more so than online presence.

I guess unlike commercial works/products, the process of acquiring art is a much more intimate and personal one. After all, Baudrillard's word, "What you really collect is yourself".

Video, blogs and presentations from Preparing for your Degree Show

Photo by Adam Hayes

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Some do's and don'ts about press releases, from Impressing the press part of Preparing for your Degree Show

Artemis Evlogimenou is a 1st year Performance Design and Practice student at UAL and a winner of our Making Money from your Creativity competition.

 

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Promoting yourself and your degree show took place at Wimbledon on Wednesday 3 March.

Promoting your degree show is akin to promoting and selling your first baby. Not to everyone's liking that's for certain!

Philip Li, a Camberwell BA Ceramics graduate, has a career encompassing installation, performance, fashion and art. He shared lots of good tips about marketing considerations:

• Know your motivations. What do you want to get from your degree show? Feedback, chance to socialise, opportunity to find work, look at other art, sell work? Whatever it is, seeing it as the launch of your career rather than the end of your studies will benefit you enormously!

• Free for limited time only. Make use of free promotional tools now while you have access to it. Upload a Showtime profile and make use of their 200,000 plus visitor hits per day during degree show period. Placing yourself on an educational website will boost your Google rankings later on.

• Get your own site. Use other online presence that's free but if you have the time, skill and money to get your own site, do it. Only do it if it will add value to your work and you can do it well. If it looks unprofessional, avoid having one.

• Image is key. Have business cards or postcards that invite being picked up that have an image that is strong, professional and is memorable as your work. People forget text but often remember the visuals. The spotlight is on you and not just your art work. Consider how you want to present yourself and your art to its best but be natural about it! If you don't sound as passionate about your work as you do on paper, start practising now!

• Quality not quantity. Anything you present in your show and on your marketing needs to be high quality. Group together to get a photographer to take images of your group show. You can use these quality images later when promoting your work. Get the best quality postcards printed.

• Press for press. Push to get a journalist to write an article on your show. Invite them now as there's often a 3 month deadline so they need to know in advance. Invite ones from magazines you want to be seen in obviously and who's style of writing you like! Bloggers are journalists too…

• Build and develop relationships. Ensure you nourish the relationships you have at uni as those are your future collaborators, champions and mentors. Relationships arch above the art you make on your journey so be nice to people as they'll stay with you longer than your last piece of work. Aim for Lovemarks, "creating emotional connections" with your work so make people want to talk about your work when you're not there.

• Not just one off. Consider that your degree show can be repeated elsewhere. Philip said he sees making art like "making an album – make it, tour it and gig it". Most of all enjoy it!

Tom Hunter, a theatre graduate and now Marketing Director at London Calling wants you to have fun while marketing! No right or wrong answer. It's your marketing goal and your methods – do what feels best and is achievable.

• SMART goals work best. Specific, measured, attainable, relevant and time-bound. Only commit to what you can realistically achieve in the timescale you have. This includes what marketing activity you think you can do before and after degree show, i.e. only say you'll send someone a newsletter if you know you have time to create one.

• Create your brand. Promote your degree show with your personal "voice" & message. Get it right in the beginning and it will have the domino effect without you knowing it. Get someone to help if you're not great at the concept.

• Experiment and aim to connect. Why should people be attracted to your work? Say something different – pull the crowds to your stand because they're curious.

• Trust people. People want things from you at your degree show – your time, your work, your story. Be open to conversations you didn't expect to have as you don't know who they know or where it might lead. Engage with those people you trust. That includes the marketing company you choose to print your cards!

• Keep in contact. Collect cards of other artists as well as those who visit. Keep every card you collect and immediately start creating your contacts database. If you say you'll get in touch – do it and send/say something of value to them. Don't be surprised if people contact you up to 6 months after and act as if you remember them even if you don't!

Video, blogs and presentations from Preparing for your Degree Show

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Finding funds is crucial to almost all students whether they need it for their degree show, the production of their work or for future projects.

Finding funds for your show, a talk bythree UAL graduates which took place on 4 March as part of Preparing for your Degree Show,covered the options in depth, and gave an honest perspective on the realities involved.

Lina Dzuverovic, Executive Director at Electra, did a great overview of the options for funding available to all creative practitioners.

Options for students included:

• Corporate sponsorship tailored to your project – you can possibly target large companies in your sector for sponsorship, e.g. a fashion designer approaching textiles companies

• Individual giving - getting people to fund you personally, a realistic approach for a show, and can be done through social media networks – e.g. micro-funding for the film The Age of Stupid

• In kind support – not asking for funds, but asking for favours and freebies. e.g. asking an actor to do a voice over for you.

Creative consultant Christina Cunningham's entrance to her talk was perfect. 'If you need funding help, take down this number right away', and she read out the number of Sally Clark, a student advisor at CSM, who she had pre-warned that 100 students may be contacting her very soon. She emphasised spending funds on your work rather than your show, and gave great examples of shows done on a budget.

Her tips included:

• Try not to get into too much debt over it – there is life after university

• Take advantages of freebies – make a website for free using www.wix.com & the British Library offer free advice and will do research for you.

• Get a good deal – find companies that will support you and offer a reasonable deal – Expocentric on Broadwick Street, Soho,for printing, Cliftons for bookbinding, Models Mayhem for models, photographers & make-up artists

• Study more – and get funded through Access to Learning

• Apply to Dragons Den online – you don't need to go on TV, but make sure your figures add up/

Aldyth Crowther, had done some research for the talk, by calling up companies to see how they could help fund or support students, but emphasised they your should be creative in the ways that you try to get funding, or solve budgeting problem. She learnt:

• Negotiate - if you can't afford something, see how you could get it cheaper, it's ok to ask and their may be a compromise.

• Trade - exchange services, or see if you can get something for free by offering them benefits you can provide

• Raise actual cash - through selling your skills or services. organise a day where you can repair peoples clothes, sell cakes decorated in your own artistic style.

• Collaborate – share resources and time, and maximise

• Think locally – promote local businesses and try to get sponsorship from them

• Follow up – most companies she called, were disappointed that they didn't get thanks for their offerings, not even an invite to the show.

So there are plenty of potential options, so find the one right for you, and make sure you do it well, because if you damage the relationship with one funding or sponsorship source, remember you can't ask them again.

Video, blogs and presentations from Preparing for your Degree Show

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I recently attended a press release workshop about how to write a press release about your show, conducted by Kati Price, Acting Managing Editor at the Design Council, at Central Saint Martins's Innovation Centre in Procter Street, Holborn.

Based on my interpretation of the workshop, the objective of a press release is to generate news stories about your show, or whatever you are trying to promote, initially in the world of journalism, in the hope that the information provided will reach a wider public.

Prior to writing a press release, try to work out whether your intended proclamation is of genuine public interest. Once satisfied, find the hook or angle of your story. This will hopefully catch the attention of journalists within your chosen sector, enabling them to write with interest about your plans.

Next create a headline which summarises your show in a nutshell. You need to make readers inquisitive about what you are doing.

The first paragraph of your press release is very important and you should mention the WHO, WHAT, WHERE, WHEN and WHY? State clearly who you are, or what you represent, what your show is, and what you hope to achieve with it. However, whatever your claims, ensure your statements are accurate, succinct, appealing and tonally in keeping with the publication you are targeting.

You also need to include the details of where your show is taking place, which date, what time they are expected, as well as any photography opportunities which may arise at your event. It's essential that this information is correct.

Why should anyone be interested in your show? This is the time to mention your unique selling point – what sets you apart from your competitors. You can also include a notable quote from an individual or organization, as interested parties may take you more seriously as a result.

Good luck and remember to include correct contact details in your press release. If your audience is hooked, they will want to let you know.

Jhana Arnold was a runner up in our Making Money from your Creativity competition.

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The Fine Art Degree Show talk was about the skills needed to reframe from 'I'm finishing art school' to 'I'm going to show finesse in my first solo and / or group show'.

Medeia Cohan, UAL Curator and Director of Emerging Artists Programme and Nick Kaplony, Artquest gave us some good ideas about how you can do that.

They want you to do well – to make a success of your degree show and for that success to be defined by you. To help you, their presentation gives a lot of very practical advice from things like costing and pricing, numbering limited editions, commissions and more. These are just some of the things that stuck in my mind from their talk rather than repeat their slides:

• What do you want to show? Make it your best work and the pieces that represent the most accurate story of your current art practice and future direction. Your catalogue entry needs to show your best work – so does any other marketing you choose (online or offline). One image is all it takes for someone to be turned on or off.

• Know your audience. Your degree show will have the largest, most diverse and international group of people visiting your work. When else will your first exhibition have up to 20,000 people visiting in your first week?

• Prepare for unexpected outcomes. Imagine that your work will be visited, talked about and people will want to exhibit, buy or circulate it afterwards. Then aim to do your best to ensure this happens! Even if your art work isn't as great as you'd like it to be at this stage, make sure you promote it as if it is a stage in your development.

• Prepare your space professionally. From the day it opens and all throughout the show: ensure your space is open, lights are on, technology works, someone is available to speak to visitors about your work, contact details are available for future conversations and follow-ups, you know your selling price even if that's "not for sale" and it's listed or the person manning your space is briefed in this, the art work is checked daily to ensure it's in the same state as day one, you're sober and available to talk to!

• Know your work and what you want to happen to it. Be prepared to answer questions about your inspirations, art processes, is it for sale, where else will you present it, what do you plan to do, what are you available for after graduation, where did you get your cards printed and any other question that might be asked in relation to your show!

• Attract but then give aftercare. If someone wants to buy or exhibit your art be prepared to know how you'll follow that up; receipts, invoices, delivery, re-install instructions, future re-install instructions, contact details for further customer contact (repeat customer potential for example), wrap it professionally etc.

And if you feel slightly bamboozled or like running away from it all, make sure you find someone to talk to, or offer a shoulder to cry on if needed! Support is out there from ECCA, Artquest, Creative Careers, Student Support, tutors, peers, friends, family…

Video, blogs and presentations from Preparing for your Degree Show

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I went to the first event in Preparing for your Degree Show, Essential planning for your degree show.

Speakers Patrick Swindell and Ben Freeman met studying BA Graphic Design at Camberwell. As students they took prominent roles organising all three end of year shows learning from their mistakes along the way.

Being generous sorts they agreed to share a condensed top tips with the five areas you need to start thinking about now as to begin to plan for you degree show:

In the same spirit I have broken up the main content of the talk into digestible chunks:

Traps to avoid:

•Avoid the temptation to crowbar everything into one single unifying theme. The fact that you are all one the same course is often all the theme you need and being overly dictatorial in terms of subject matter can often stifle individual's creativity and impact on the overall quality of the work as a whole.

•There is no need to allocate space evenly between students. Naturally different students will work to different scales so divvy up space to suit to artwork itself. This will make for a much more dynamic show and stop it looking like a trade show!

•Consider security issues. Both Patrick and Ben have experienced theft of work at the shows they have organised so protect yourself from falling into the same trap.

•Strike the right balance. The strength of the show should be matched by the strength of the work in the show. If the work is strong but the show is weak then you won't do your hard work justice. If the show is strong but the work is weak then people will have a great time and hang around but the work will be ignored, leading to poor sales and reduced interest in commissions.

Free Stuff:

•Companies are strapped for cash at the moment so why not ask for processes or materials instead of cash. For instance you could approach a lasercutting company to do some signage for the show in return for a credit in the show programme.

•Don't approach companies directly for sponsorship, approach the PR company they employ to represent them instead. Free booze is a cornerstone to any successful private view so again don't contact, say, Beck's direct research their PR company online and contact them instead. An alternatively option is the Bar Show which is held is Islington on the 15&16 June and is a one stop shop for sourcing refreshments for your event.

Managing and designating roles:

•Start with a selection of good ideas for your show and go with one of them. Try not to combineeach individual idea into one and you may well end up with a vague diluted concept.

•If you're struggling to make decisions as a group why not use a majority vote to choose and avoid time wasting indecision.

•Get hold of the floor plan for the space you are hiring for your show. Every exhibition space whether internal to the UAL or external should have a PDF or CAD file precisely detailing the dimensions of the space that will contain your show will be allow you to accurately arrange the layout of your degree show.

•Check the does and don't of the space. It could be that you are exhibiting in a listed building which prohibits you from drilling into the walls to check up from to avoid nasty surprises.

•Write a timetable. Time will simply disappear, especially as you will be creating your own work to go in the show at the same time as planning the event itself. Creating a timetable will make it easy to assign roles and keep everyone on track.

•One way to assign roles is to get people to pitch for them and then vote of your favourite.

•Find out where the budget for your show is coming from and how much it is. Someone has to take responsibility for the budget so assign someone to the task.

•Target your invites to ensure the people you want to see your work are at the show as individuals and then compile an aggregate mailing list to be sent on behalf of the entire show. Doing this rather than doing it individually will make you come across as such more professional.

Be creative:

•There are all sorts of amazing materials you could us to breakup the space you have hired to give it a layered and dynamic feel. Consider hiring material as a money saving alternative to purchasing.

•If your course tutor is dictating much of the content of your final show find out exactly what level of decision making you have as students. Having a tutor overseeing the entire show is not always a bad thing as you can leave all the difficult quality control decisions to them leaving you free to concentrate on other aspects of the show and avoid clashes between friends.

Finally some useful resources:

•Main titles – good for dry transfers
•4D – another sources of dry transfers and many other materials
•Atlantis – large range of premade picture frame.

Video, blogs and presentations from Preparing for your Degree Show

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The atmosphere at Chelsea has been different this week, something has changed. The usual swagger of fellow students passing through the corridors had transformed into an urgent semi-jog. Whether you're putting your portfolio together for an interview or drawing up plans for an end of year show deadlines loom at every turn.

It's easy to get caught up in the general hysteria of it all which is why it's comforting to know this week sees the start of ECCA's Preparing for you Degree Show 2010 - a gently paced month of events helping take a bit of the stress out of what should be the culmination of all your efforts during your time at UAL.

However, I think that the degree show shouldn't be your sole focus. It's all too tempting to drop everything to dedicate yourself to the task but you also need to be looking beyond graduation even now.

One familiar theme when talking to graduates during my time here at ECCA is the idea of starting to do some work, whether employed, voluntary or as a freelancer, now while you're still a student.

Joe Baglow, last month's featured case study student certainly found that as far as internships go, companies are much more willing to help a student gain experience than a graduate. You want to start making your mark as soon as you graduate from college, so you might as well get ready now.

'Preparing for your degree show' sounds like it's all about the lead up to the big event, and a lot of it is. But many of the events scheduled are a chance to learn skills which will extend well beyond your student days; from pricing and selling your work to promoting yourself effectively in the press. It's about making the step from student of confident creative professional even before you think you're ready.

Here are a couple of things to think about:

• Why not blog about the run up to your degree show and share goals that reach beyond the show itself. With this will come a sense of accountability which will help you keep on track.

• Think about jobs and freelance work now. The majority of final year students will be feeling too busy to do this, and you may be in the same boat but it also presents you with a great opportunity to beat the crowd to securing the first foot in the door.

So, I reckon, pile your plate high and stay hungry.


Image "Like spinning plates" by Jameson42 on flickr

 

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To get a valuable insight into how to use your creativity for enterprise, who better to ask than a previous competition winner for Making Money from your Creativity?

Xiang Zeng has recently graduated from Central Saint Martins and was commissioned to create images for the ECCA website.

One of her main pieces of advice is to start your own website or blog. "My freelancing is currently mostly conducted through my website www.freerangedoodle.com," says Xiang. "There people can find my blog with photos and news of my products as well as a shop where these products may be bought." Creating a website is an unofficial way of publishing your work and getting your ideas noticed, and it can also produce revenue from sales.

Winning the ECCA London competition was no doubt an important contribution to her website becoming the first hit on Google search.

Using her creativity for enterprise, she explores many different design endeavours. These mainly include wallpaper design and illustration, as well as reinforced paper jewellery and brooches.

Her work was noticed at the degree show by The Hungarian Cultural Centre. "Together with four other students, was offered an opportunity to exhibit there," Xiang explains. "The financing was provided by the centre, but the planning for the exhibition was entirely up to us. We had a 4 page long article in the Hungarian Elle Decoration in the October issue, which talked about the upcoming exhibition and about our work."

This was obviously a great source of publicity for the exhibition. They also sent out invites, as well as creating advertisements on both Facebook and Twitter, all valuable methods of promotion.

It is clear that by becoming involved in different events, networking and competitions, it allows your work to get noticed and provides a platform for future work and experiences. Since being involved in Making Money from your Creativity, Xiang has completed many different types of creative work, such as: being involved in a fashion winter shoot with Rita Parniczky and designing a window pattern for a high end fusion restaurant in Shanghai.

Xiang gave some other advice for students on how to earn money from their creativity: "Business link is definitely a good place to start. You can get one on one free advice from them for a year and they provide telephone support as well. ECCA also has up to three free advice sessions for students and graduates."

Networking is also a key aspect in getting started, as you meet new people who you may want to collaborate with in the future or who could possibly be your future customers. Xiang says: "It is most helpful to meet people who you may be able to collaborate with later or who may become your future customers. Good networking places are: Metropolitan works, Hidden art, Shell livewire. Constantly pitch for commissions."

To find out more about Xiang, go to www.freerangedoodle.com

ECCA will be launching a new competition next month, so keep checking back on Making Money from your Creativity.

Emma Wilson was a runner-up for a Making Money from your Creativity competition.

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ECCA are conducting our annual survey to find out how well (or not) we've supported you so far. It will take approximately 5 minutes, and we'd like you to share your thoughts with us to see how we can improve and to ensure we continue to meet your professional development needs. Tell us what you really think! We'd appreciate it.

Help us out so we can return the favour - fill out the survey here

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This is the first post from our 'Making Money From Your Creativity' Blog Competition Winner Artemis Evlogimenou.

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This is the first post from a 'Making Money From Your Creativity' Blog Competition Runner Up Jhana Arnold

I have wanted my own business since the early 1980s when, as a child, I began to read The Sunday Times Rich List. It was inspiring to read, not about monetary wealth, but the process of turning an idea into an enterprise.

In 2003, I graduated from the London College of Printing with a Publishing degree, but that was not all. Through the knowledge and skills imparted by my tutors, I felt I had acquired the initial foundations of an MBA course, thus making the entire world of business accessible.

Therefore, I began to develop Read Unlimited: Novel Books™, a consumer publishing house which would initially print illustrated children's titles. I had written a few children's manuscripts, stamped with rejection letters of high praise. Paired with my self-taught skills as an illustrator, I felt the world was my oyster – it still is.

Studying at UAL always leaves one feeling capable of achieving anything. So I did, and managed to get two book distributors in America interested in my first children's book. However, that was just the beginning and soon expectations collided with reality's financial comet.

I can forecast my future through business and marketing plans, but there comes a point where you have to print to make money. My finances were never able to make my dreams come true, but neither was the East London Small Business Centre, Business Link, The Prince's Trust, Arts Council England, or my bank through the UK Department for Business Innovation & Skills (BIS) loans guarantee scheme. BIS secures loans to the value of 75%, including start-ups. However, do not be deterred by my failings. Be bold and discover what these organisations can do for you.

Having just completed an MA in Screenwriting, I realize how fundamental a structure is to a narrative, and a SWOT Analysis (Strengths, Weakness, Opportunities and Threats) represents the same in business. Extracting the essential mineral from your ideas mine is arduous and fraught with failure, as I am sure you are aware.

However, failure is a great motivator which forces you into the world of self-sufficiency through innovation and thus, longevity. Without this treacherous element to my journey, I would never have discovered that the potential of my bounty lies in Bags Of Illustrations™ - I am launching my illustrations on jute bags and will initially set a course for the Saint Lucia tourism market.

Useful links:

East London Small Business Centre -http://www.goeast.org/
Business Link – http://www.businesslink.gov.uk
The Prince's Trust - http://www.princes-trust.org.uk/
Arts Council England - http://www.artscouncil.org.uk/
UK Department for Business Innovation & Skills (BIS) - http://www.berr.gov.uk/

Image: "Paper money, extreme macro" by kevindooley on Flickr

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1. Start a blog - starting a blog has never been easier. Get over to the Wordpress, Blogspot or Blogger websites and share yourself with the world!

2. Buy a diary and USE IT - organisation is key. There's no time for getting in a muddle in 2010.

3. Attend an ECCA event - from Preparing for your Degree Show to one-to-one advice session we're here to help you make the most of your creative potential this year.

4. Take a sketchbook everywhere - a great idea can spring up at any time so be prepared to capture it within the pages of you sketchbook. Like your mobile phone, make the habit of taking it everywhere.

5. Bark at a dog - don't be afraid to stand out. Make an exhibition of yourself and promote yourself at all turns.

6. Get your mates together - what better time to get everyone together for a peer review. Let people know what you're doing and inspire each other.

7. Tweet about your work, not about what you had for dinner - use Twitter as a marketing tool for your work. Keep it relevant and focused and you'll soon have a group of like-minded people to bounce ideas off.

8. Open an online shop - gone are the days of having to build your own fancy online shop. Sites like Etsy, ebay and Folksy let you use their shop infrastructure and direct more traffic to you by virtue of their own marketing.

9. Identify what you're not good at - play to your strengths this year. For example, if you're freelancing and hate filling in tax returns, then consider getting an accountant so you are free to do what you do best - creating ambitious art!

10. Give up giving up - no matter how talented you are, it's persistence that pays off. So in the face of adversity keep your head up, keep going and make 2010 your year.

 

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As an aspiring freelance illustrator myself I was thrilled to get the chance to attend the Freelancing as a graphic designer/illustrator event, part of Enterprise Week 09, and cover it for the ECCA blog.

The full podcast of the event will be posted on the ECCA homepage soon and this blog post is more of a condensed view of all the juicy bits.

To give you a feel of what sort of work the speaker Toby Leigh does visit his website at: www.tobyleigh.com

How to go about getting work

• The first person you should go and see when looking for paid work is your local newsagent. There you can find the names of the Art Directors in the magazines you think your own work would fit. Armed with these contacts you can more effectively target your prospective client when you do your next promotional mailout.

• An alternative is to buy a list of contacts. The best lists are found at www.bikinilists.com

• The most effective way, however, is to join an agency. You can pitch for representation by contacting the agency you like the look of directly. Toby himself is represented by illustration agency Folio (www.folioart.co.uk)

How much to charge when you get a job

Pricing your work as a freelancer can be tricky so a handy resource is the Association of Illustrators (www.theaoi.com).

There is an annual membership fee but once signed up they can draw on a huge database of case studies and similar past jobs to help you price your work accurately.

Dealing with contracts

First tip is to always read the contract! If there is any part of it you are unsure of you can always email it to the AOI and they can read it through and point out any irregularities.

Tax

If you want to freelance you need to register as self-employed. You will have to deal with your own tax return so keep on top of all your receipts by getting yourself a folder with dividers for each month and keep it organised and up to date.

Having a good accountant will make your life a lot easier and you should only have to spend around £400 for one.

Other tips

• If you have a range of art styles why not set up a separate identity for each? Toby has two styles of illustration – one under Toby Leigh and one under his alter ego 'Tobatron'. That way you can be two illustrators in one and get double the work!

• When looking for work don't forget that sending out postcards or other physical promo material is still the industry norm.

Sure you can send emails with attached examples of your work but your potential clients will still value receiving tangible samples of your work. Also handwriting the addresses on the envelopes is a nice touch.

Listen to the podcast and see the presentation

Adam
Enterprise Centre for the Creative Arts

Article Illustration by me, Adam Hayes (www.adamhayesillustrates.com)

 

 

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The full podcast of the event will be posted on the ECCA homepage soon and this blog post is more of a condensed view of all the juicy bits.

Three young entrepreneurs shared their experience setting up their own business.

Max Fraser
www.londondesignguide.com

Sharmadean Ried
www.wah-magazine.com

Sarah Rowles
www.q-artlondon.com

Here are some common themes I've picked out:

It's never too early to start:

In each case the speakers started exploring entrepreneurial opportunities whilst still at college. Max developed his idea to produce a guide to the best design shops in London whilst studying a foundation course at Chelsea. Sharmadean produced and printed her first magazine, a fanzine called "WAH", during her second year at LCF and Sarah is still at Goldsmith and is in the second year of running her art community Q-Art London.

Use resources whilst they are still available:

Tied closely to the previous point one benefit of getting started whilst still at college is that you have a wealth of resources available to help accelerate your ideas whilst still at college. Here I'm not only talking about physical resources such as the library network or printing presses etc. but also the valuable feedback from your course peers, tutors, the list goes on.

Learn to recognise your limitations:

All three entrepreneurs spoke in different terms of how they learnt from their mistakes when they first stated out but a prevailing theme was that recognising your knowledge gaps and seeking the appropriate help is key. Getting a good lawyer and accountant will free you up to do what you do best – create!

Find inspiration from your frustrations:

If you're left frustrated that some thing or service does exist why not create it yourself? Whilst on holiday in New York Max found a guide to all the cool design shops in the NYC area and wondered why such a thing didn't exist for London. It was at that moment that he was inspired to create his own and his journey into enterprise began. For Sharmadean it was the vast difference between the quality of the nail bars in London compared to the US that inspired her to open her own salon, and for Sarah it was identifying that what made Goldsmiths a great place to study was not necessarily the courses themselves but rather the community of students at the college.

Be ready for success:

Staring early, being organised and working hard will mean when an opportunity presents itself you're ready to pounce. A good example of this recalled by Max where he pitched his book idea to a marketing mogul that happened to be at the same event he was working as a waiter at. This set a chain of events in motion and Max's book became a reality.

Listen to the podcast and see the presentations

Adam
Enterprise Centre for the Creative Arts

 

 

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Having known furniture and interior product designer Jethro Macey since pretty much the start of his career, it was good to see him finally share his story, and hear all the details of his progress. He was talking at Finding your route to market as a designer/maker as part of Enterprise Week.

Jethro not only has one of the greatest names in the industry, but he also has the attitude, and portfolio to match.

Jethro started by giving us a chronological view of his business from graduation to the present day, and a year by year account of his changing routes to market.

His honesty, initial naivety and now success made the content appealing and realistic to all working as a designer or maker.

Starting out
In 2005 fresh out of uni, he knew little, and on considering how to make money from what he wanted to do, he:

• made the work himself
• made it in small batches
• sold directly to the public

It is the most basic and logical answer to the problem.

But as he progressed and gained experience through selling at trade shows, events and networking, he learnt about the alternative options:

• selling to retailers
• outsourcing the manufacturing of his products
• licensing his designs
• commercial specification
• working collaboratively and
• working only on projects that paid

He is now a highly respected designer, with a catalogue of press, great projects and collaborations, and numerous awards under his belt.

Check out the podcast and presentation for the finer details.

Vicky
Events officer
ECCA

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Bec Andrews, a set and costume designer, delivered a really comprehensive picture of working as a freelance in theatre design.

I've got a bit of a background in theatre, having worked as a theatre journalist for a while, but I didn't know much about theatre design.

Her methodical approach gave some really good tips about collaboration, which is a useful skill whatever creative area you're working in.

"Theatre is nothing if it's not a process of collaboration," said Becs. "You can't do it by yourself." There is a huge range of people you can work with as a freelance set designer – actors, directors, stage management, wardrobe are just a fewexamples.

Let collaborators come to you
A counter-intuitive point: let collaborators find you – people who search you out will be much more into your work. So a website and personal recommendations are very important. An agent doesn't guarantee you work as a theatre designer.

Actively looking for collaborators

If you are actively looking collaborators then the following are really useful:

• Writing letters/ promo material
• Networking events, talking to people, chatting in the bar afterwards
• Keep in touch with people you've worked with
• Advertising shows – send out emails prior to shows, showing people what you're doing even if they don't come along
• Random conversations on trains – Becs started talking to someone on the train and he turned out to be a theatre producer, and got three or four commissions through this.

Some key points about collaboration

Every collaboration is:

• Different. Certain ways of collaboration work better, but every time it's different
• Personal and professional. Professional but nature of the work focuses on personal stuff, you can become friends with the people you work with as you are working away from home for weeks at a time.
• Finite – as you get to a point where you've done as much as you can together
• A process of negotiation and compromise – always give and take.

Have a look at Bec's presentation for more details

Laura
Web and communications officer
ECCA

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The event on 'Selling Online – knowing the rules' last week left me feeling really empowered with all the advice and tips given by the speakers! I had never thought that there would be that many legal and copyright issues related to selling online, but the speakers were fantastic at giving a step-by-step approach and dispensing practical advice that made the whole concept much more 'digestible'.

The three speakers – Alice Stone, Fashion Accessory Designer (http://www.lilyandlionel.com/), Peter Mason, Solicitor, Briffa (http://www.briffa.com/) and Matthew Wilkins, Creative Director, With Associates (http://www.withassociates.com/), gave a holistic overview on the subject matter, from the selling and marketing, legal and creative points of view.

The speakers were each experienced in the topic, yet coming from a different perspective.

Alice, an entrepreneur herself, advised the audience on some of the pitfalls which she has experienced herself, when she first started out – such as, unnecessary high costs of web development and features, reliance on web developer for content management, postal strikes, use of fulfilment houses for stocking, etc.

In contrast, Matthew provided useful resources for those who are just starting out and wish to test the market. For instance, he suggested that, it might be useful to consider using existing platforms, instead of investing and developing a website from scratch (which was exactly what Alice did and advised the audience against!).

Mathew demonstrated how one can simply use a holding page to aggregate content and direct customers to the various different sites for showcasing (eg Flickr, MySpace), blogging (eg Blogspot), advertising (eg Twitter) and selling (eg PayPal, Shopify, Etsy), whilst providing relevant links on each webpage.

Peter 'de-mystified' the legal and copyright issues surrounding online selling, and provided lots of useful advice and practical resources.

At times, these parameters can seem overwhelming, but it can be addressed with an informed, step-by-step approach. In terms of intellectual property (IP), Peter talked about the difference between IP assigning vs. licensing. For instance, when developing a website you might request for the 'front end' (ie, design of webpages) copyright to be assigned to yourself/your business, so that the same design could be adapted to other forms, such as posters and brochures.

And usually the 'back end' rights are licensed (instead of assigned), unless there are any unique web features which you wouldn't want anyone else to have.

If you are thinking of selling online, you'll be able to listen to the podcast and see the presentations on the ECCA website.

Pei-Chin
Enterprise Office (LCC & CSM)
ECCA

Image: Alice Stone from Lily and Lionel

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The shortlist for the Creative Enterprise Awards at the University of the Arts London have been announced!

All entrants are students or recent graduates of UAL. The three categories are

• Successful freelancer
• Outstanding new business
• Most enterprising project

The top prizes include memberships to creative organisations, exhibition space, vouchers, business advice and more.

Watch this space for the winners - they'll be announced at an awards ceremony on Monday 16 November.

You can also see the final six images for Making Money from your Creativity artwork competition.

Look at the shortlist here.

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UAL's Green Festival is taking place throughout the month of November and ECCA is getting involved.

On the 27th November we have the 'How to be an eco-creative' event where you'll hear from a variety of experienced green creative practitioners aiming to inspire you to make a difference with your creativity. Book your place here!

While at the Enterprise Week Launch Party make your own rosette at the [re]design rosette stand – rosettes made of recycled materials that you can wear and take away!
www.redesigndesign.org

 

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Resources from Graduate Week 2009 are now available, including presentations,

 

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Booking is now open for Graduate Week 2009 (29 June – 3 July).

We've got a week packed full of events and workshops about getting started, including managing your money, pricing work, self-promotion, career coaching and much more. Industry experts, recent graduates and advisors from across Arts London will help guide you through the transition from student to graduate.

Highlights include:

• a launch party, including free drinks and goodie bag
• a Next Step Fair where you can meet organisations that provide support to graduates
• one-to-ones with a career coach
• an event on how to start a business on a low budget
• tips on interview skills

To see the full programme and to book a place go to www.arts.ac.uk/gradweek09

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We've now received all the entries for our 'making money from your creativity' competition. The winner will receive £150 to produce more images and have their work showcased on the ECCA website for two months.

But it's up to YOU to choose the winner! Voting is open now and you have until 20 April 2009 to help select the winning entry.

If you missed out on the competition this time, don't worry, there'll be more soon!

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Want to make money from your degree show? Find out how with the first set of resources from Preparing for your Degree Show week, including podcasts, video and presentations. Artist Adam Koukoudakis sold his first piece of work from his degree show to the gallery that represents Banksy – read some of Adam's top tips and download the podcast.

Watch thevideo belowof Ellen O'Hara, business development manager from Cockpit, sharing her 5 top tips or see more resources about making money.

More resources will follow, so check out the website again soon for more information about getting organised for your final year, making money, promoting yourself and how to keep on the right side of the law.

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Are you an Arts London international graduate who has set up your own businesses in the UK creative industries? If so, Creative Careers would you like you to feature in a short online video to share your experience and advice with current international students.

Participants will receive a £20 HMV or Topshop gift certificate. To find out more email Gwen at Creative Careers: g.knowles@arts.ac.uk

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If you'd like to win some cash and showcase your work on the ECCA website, enter our Making Money from your Creativity competition. Upload an example of your work to the ECCA website, which will then be available for online voting. The winner will receive £150 to produce more images and have their work showcased on the ECCA website for two months. The competition closes on 7 April. For more information and to enter go to Making Money from your Creativity competition.

Image from the winner of the last competition, Sarah Ushurhe

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There are some new spaces available for Pricing your work: one-to-one advice on Tuesday 24 February, as part of Preparing for your Degree Show week.

The advice sessions are open to Fine Art students and are a chance to meet one-to-one with University Curators. If you are an artist you can get answers to tough questions about pricing, your future, showing after University or anything on your mind. Students are welcome to bring examples of their work.

Book a slot here - click on [Prep09] Eamonn Maxwell (at Chelsea)or [Prep09] Medeia Cohan (at CSM).

You need to register or log in to the site in order to book.

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Want to make a big impact with your final degree show?

Preparing for your Degree Show (23–27 February) is a week of events and workshops to help you make the most of your exhibition.

Experts from across the University have assembled a series of events and workshops to create a practical guide to putting on your show, promoting yourself and making money.

Hear top tips from industry speakers and graduates who have been there and done it, to help make putting on your show a whole lot easier.

For more information and to book go to www.ecca-london.org/degreeshow

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Find out who won the Arts London Enterprise Week Make Your Mark Challenge 2008.

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Bookings are now open for all of our Enterprise Week 2008 events! Enterprise Week 2008 takes place from 17-21 November and is a packed week of practical and inspirational talks and workshops that will help you gain the skills and knowledge you need to make a success of your creative talent.

Find out more and book your places!

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ECCA has teamed up with Own-it to offer a free dedicated intellectual property advice service to Arts London students. Click here for more info.

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The winners of our recent 'making money from your creativity' opportunities are:

Lucy Wright and Jamie Kyle.

See their work here

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We've launched our making money from your creativity programme! Two commission opportunities are available now - create artwork for the ECCA website (prize £150) or design the identity for Graduate Week 2008 (prize £300). Click here for more information.

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We have a winner for our Pathfinding Week competition! Look here to see who will be producing more images for the ECCA website.

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Now we've got a brand new and improved (hope you agree!) ECCA web site, watch out for new features and content coming soon.

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Read Liz Ford's Guardian article on working in jewellery and metal design here

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