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elena@decopublique.co.uk - email for person who to contact to sell pitch too
do a pdf presentation that is very visual
go straight to them instead of through the student open call thing
mention that you've volunteered for them before

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cover page
intro and picture of me
portfolio (3 pages of relevant projects)
- budget and timeline plan

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hot bed press- screen printing
M3 industries- laser cutting
north west film archive @ mmu

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It just wants level 3 or 4, can I get around this? get empathy for not being able to do anything last year?
Could I suggest not needed a budget from them? making it self funded? find my own funding

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Tim Baker foundation at Christies Mural design

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Tim Baker foundation at Christies Mural design

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will it be difficult to be a project because the thing is in September??

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the publication is something I could do at any point but having access to help and promotion is a good time to do outward ambitious projects

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idea of 'matchbox memories'- links to my authorship project and can really extend it
- if this goes ahead could I get Caitlyn involved? (apply for it and then ask for collab)
- talk to Ian and Maisy

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HOW TO MAKE FRIENDS WITH A GHOST Written and Illustrated by me! Published by Tundra Books, 2017 BUY IT NOW! "What do you do when you meet a ghost? One: Provide the ghost with some of its favorite snacks, like mud tarts and earwax truffles.

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deadline 26th march

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Here at Cotton On MCR, we aim to not only promote Manchester's amazing art scene, but to contribute to it also! That is why we are extremely excited to be hosting our first, stand-alone art exhibition! This exhibition will feature a great mix of Greater Manchester based artists, showcasing local talent from students, hobbyists and established artists alike. Anyone that works, lives or studies in Greater Manchester can apply! We'll have over 30 different artists all showing a mix of 2D and 3D work, there will be something for everyone in this exhibition.

There is no theme for this open call, just that all artists submitting work must be living and/or working in Greater Manchester - so there really will be an eclectic mix of art work on show.

This exhibition will take place in the established Saul Hay Gallery in Manchester's city centre from Friday 23rd April - Monday 3rd May 2021. Collaboratively we want to show that art can be for everyone, and that galleries are open to all. We understand that some galleries and exhibitions can come across as elitist, well we want to show that this isn't the case, and by showing work of local and mixed media artists, we know that this exhibition will be a huge success. We will also be running a 'best piece' competition and have a great panel of professional artists and curators on board that will be viewing and judging your work and we have some amazing prizes on offer. Plus we'll be expecting hundreds of visitors to the exhibition so it's a great chance for exposure next to other amazing local artists.

Read on to find out more about what we are offering with this exhibition, and follow the link to apply. Deadline is midnight, Friday 26th March.

We are also looking for people to help out at and sponsor the event! If you fancy getting your brand out there, contributing to a local exhibition which will be viewed by hundreds of local artists and art fans alike, you can download our sponsor pack and get in touch!

What's in it for the Artists?

Not only do you have the opportunity to show your work in the exhibition, but we want to make sure we give back to ALL artists that apply. We have a huge list of opportunities available which will involve every single applicant.
Successful applicants receive:

Their selected work(s) in the exhibition at Saul Hay Gallery itself.

Possible sales, as we ask that all work in the exhibition is available to purchase.

All work will be put into an exhibition catalogue with the artist names and details of their work.

Their work featured in an online exhibition on Cotton On MCR.

Exhibition review on Cotton On MCR.

Their work featured on Cotton On MCR Instagram story.

The overall 'best piece' competition winner will receive:

A solo exhibition as part of a future Cotton On MCR Art All-Dayer event in 2021.

The chance to have their work up in Saul Hay Gallery in a separate exhibition.

A dedicated feature on Cotton On MCR website.

How will the competition be judged?

The competition will be judged by an amazing panel of art based professionals. The panel includes myself, Domino Panton-Oakley the Founder and Owner of Cotton On MCR. I will be joined by the amazing Ian Hay, the Owner, Collector and Curator of Saul Hay Gallery. With us we will have two amazing and established Manchester based artists including Ian Rayer-Smith who is a successful abstract painter and Liam Hopkins aka Lazerian who creates public art, statement pieces and furniture. We will also have a voting system for all those attending. Together we will collectively chose a winner for the above awards. Find out more about the panel on our Exhibition Event page.

What if I am not chosen for the Exhibition?

We're extremely dedicated to giving back to all those that have applied and so we have collated a few ways to make sure each and every applicant gets something back from us, even if they are not chosen for the physical exhibition itself.
Unsuccessful applicants to receive:

Your work on an online exhibition on Cotton On MCR website.

Possible sales as we ask that all work is available to purchase.

Top runner up will be featured as a Manc of the Month on Cotton On MCR website.

Feedback on your submission will be available for all applications if requested.

Your work featured on a Cotton On MCR Instagram story.

Fill in the application form that you can find on our website. The application will allow a maximum of 5 pieces of artwork to be submitted.

FEES:

£15 for one piece of work, any additional work you wish to submit will be an added £5. Maximum amount being £35 (for 5 pieces of work).

30% commission will be taken from any sales made at the exhibition and from any online sales.

DEADLINE:
Midnight Friday 26th March.
ELIGIBILITY

IMAGE QUALITY:

Upload images of work via the application form. Please send high quality images in JPEG format.

ARTWORK RESTRICTIONS:

Only accepting 2D and 3D work. No video or sound media is accepted. Wall height and uploading restrictions apply.

EXHIBITION DATES:
23rd April - 3rd May.
TERMS AND CONDITIONS:

1. All work submitted must be solely produced by the artist in question.

2. Artwork containing nudity, generally violent and gruesome depictions may be classed as inappropriate and may and will be blurred or classed a 'sensitive content' on our social media.

3. Applicants are responsible for providing their correct personal information for the organisers to contact them appropriately.

4. Cotton On MCR does and will not have any copy right over submitted work.

5. Cotton On MCR is not responsible for any fees relating to travel of person or work.

6. All applicants agree to allow external communication of their artwork; not limited to publicity, press, website, social media, and any printed or digital material.

7. The panels decision is final, and if we're unable to contact any short-listed artist or winner via the contact information supplied by the entrant, Cotton On MCR and/or the panel are liable to choose alternative winners.

8. Shortlisted artists and winners will be contacted directly. The names of the winner and shortlisted artists will be published on our social media publicity.

9. All responsibility for delivery and collection of artworks and also for any art insurance, is the artists' responsibility.

10. Cotton On MCR has no liability in any art work damaged in transit or in the gallery premises.

11. There will be no alternative prizes other than those already stated. If for any reasons the exhibition be partly or wholly cancelled outside of the organiser's control, Cotton On MCR will offer an alternative date for the event.

12. All entry submissions are final and entry fees are non-refundable. No compensation can be requested in any of the above cases.

13. Cotton On MCR reserves the right to cancel this open call or alter these rules if it considers that it has good reason to do so.

14. Applicants are responsible for accurately pricing, sizing, and describing their artwork.

15. Any changes to the original details provided upon application must be notified in writing to Cotton On MCR.

16. If the work delivered does not match he information and images provided Cotton On MCR has the right to withdraw the work from the exhibition, this can either be replaced by another piece of work by the artist or a new artist will take the place.

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Here at Cotton On MCR, we aim to not only promote Manchester's amazing art scene, but to contribute to it also! That is why we are extremely excited to be hosting our first, stand-alone art exhibition! This exhibition will feature a great mix of Greater Manchester based artists, showcasing local talent from students, hobbyists and established artists alike.

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wellbeing and mindfulness
memory and archive
belonging and routine
social history as it unfolds
illustrating daily life

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* "The Law of Creativity: Copyright for Visual Artists" which helps artists understand their legal rights and can better protect their work when showing their work physically and digitally.

* "How to Sell Art like an Artrepreneur" helps visual artists as a guide to selling art online. It focuses on making the most of those few seconds you have to make a great impression, how to engage your audience, and manage sales.
only upload previously done work

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This Open Call is open to illustration, drawing, digital art.

Please submit only previously created work that best exemplifies your talent and style.

Judging Criteria: Winners and honorable mentions will be selected based on their knowledge and expertise of their selected materials. Craftsmanship and professional presentation will be important considerations, as well as the manner in which each winner addresses their concept and intention.

Applicants must be 18 years or older.

Submissions must be created by the applicant.

You DO NOT need to create new works for this Open Call. Submissions can have been created at any time in your creative career.

All applicants must submit a statement regarding the works.

Materials are to be included for each work.

IMPORTANT: YOU RETAIN THE COPYRIGHT in your submitted works and ONLY provide us with the right to show your work on Artrepreneur and promote your work on social media. For more details, see the Policies Section in our Help Center.

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Win a chance to design the cover of one of Artrepreneur's eBooks! We are looking to commission two artists to create work for the covers of our eBooks: * "The Law of Creativity: Copyright for Visual Artists" which helps artists understand their legal rights and can better protect their work when showing their work physically and digitally.

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- designer in-house publishing to design the book covers
- trustworthy agents: bright agency, bloomsberg
- 'no unsolicited work' - needs an agency
-reading list- submission guidelines, book fairs etc- useful info
- when finding publishers: find what font they use and use it (they will pick up on that straight away), what kind of books do they produce, who do they work with, what's their design style and tailor portfolio and cv to that
- book trailers- like Phoebe ingrams secret garden video
- bespoke mailers to send to publishers
- redesign a classic book- uncopyright work

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Make stuff that you know about the topics
Housman's book shop
Are my illustrations too naive?

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How did you mange to distribute your publication to gain interest?

Was it difficult to try and get people interested in buying the publication?
Did you always sell it or distribute it for free to gain interest?

- it was more of a platform for ourselves first to make things
- it grew really slowly and oragnically, at first it was just online which had no production cost
- when people collab they share it with their friends and that gets more interest
- started with less than 50 copies, gave them to friends and people who were collabing (but did sell them all) then printed more next time
- take them into bookshops to see if they will sell them, show them to people etc

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I could make the book in unit x because that could require sending design to an exernal copany to print the book, I could then produce a few selective ones with special cut outs etc in the book binding,
- and in summer make screen prints, cut outs, models to go alongside the book that would be part of an exibition
-10 weeks, 100% portfolio

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Scientist illustration brief - 8th March

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Scientist illustration brief - 8th March

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- got a few weeks to complete it, it wont take long
- show research on blog

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I can make my project into being a proposal for the longterm ideas I have, the project doesn't need to end with this block, make posters and advertising campaign for this sort of thing which would then be a basis of applying for funding and presenting proposals to the outside world

- restrict myself for what I want to produce, impose deadlines and make the project smaller so that it is easier to handle

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I love street photography and old educational videos that show how people lived in their respective times, there’s so much chaos going on right now I enjoy the idea of capturing the everyday, much like a street photographer would- I do in illustrations, collating together stories that give snippets of peoples daily lives

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windows into peoples lives,
we can only interact through windows or this veil of space
which can be represented by illustrating a story- the illustration is the middle man between the viewer and the story teller but the middle man makes the story more accessible and available

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Advice from Ian:
- Describe what questions I am asking myself when I go to research and show that- don’t over complicate it
- annotate articles ‘critical reflection’ ‘week 2’ week 3’ etc- little bits of info in groups
- look at counterpoint, the ideas of self-publishing and questions to ask the people at the talks
- how do you get distribution? Is this just a way to open peoples eyes to your other work or is there an actual profit from publishing?
Goals
- For tuesday: present research in my project and have some more crazy illos
- Questions for talk people
- Present my project for first years.
// authorship can finish with a proposal about what I will do when I have access to uni workshops, I dont need to make anything really big or crazy built still show them ideas and visualise it all!!
- for now do mockups

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Visual Polymath
Be more intellectually ambitious

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add gifs to front,
change rollover images to be zoomed bits or slightly different pictures
-add things I put onto the website onto linkedIn
- use the books I've bought to make a start on researching my contacts and the people I already know

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research!!
on the site about how to design book covers,
other artists versions and competing books

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https://www.vam.ac.uk/blog/museum-life/va-illustration-awards-in-discussion-with-eva-eland-book-cover-design-award-2020

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'positivity project'
'The time we spent'

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I used my time to step away from any specific project and concentrate on drawing more and improving my idea of style- this meant going on location nd drawing, drawing strange ideas that came into my head and illustrating images from google maps and random image generators
I also updated my website to include recent work and started to change the layout so that It was more professional

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make ideas of illustrations and narratives, maybe set myself a week to look at 5 different pages of illos that include 5 different peoples experiences?
- start making my own fonts
- the book should be the published 'product' this could come at the end of unit x, but them I want to get out of the confides of a book and create larger more ambitious things that represent my idea

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- curate selection of work better
- add more recent work that represents my brand presently
-change 'sketchbook page'- scan all good work in and make it coherent

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From my PDP I have established that in the future I want to have a solo/ professional career that spans things like freelance illustrations, exhibitions, and more of a full time established career.
I want to produce artists books and small press as well as set myself goals for exhibitions and larger work.
My main goal is to continue my project, I produced a small zine to kickstart my exploration of positive experiences people of had in the year, now I need to analyse the results of my field research and develop a larger publication and surrounding work.
This will lead into me developing ym website to be more professional (like adding gifs to the main page and categorising work to be more user friendly for potential employers and clients). Alongside this, developing a professional portfolio to send people.
In the next 6 weeks I need to divide my time effectively and develop smaller one/two week projects as this is the way I work best. I want to produce work that goes towards both my main and secondary focuses.
I want to use the briefs to also branch out and look at 3D work, animation and get better at book-binding and graphic design.

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+ works extremely well with short specific briefs

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2ND FOCUS: COMPETITIONS (AND DESIGNING PRODUCTS)

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2ND FOCUS: COMPETITIONS (AND DESIGNING PRODUCTS)

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Things I need to consider and work with:
- PDP record
- main project: positivity book
- competitions
- website
- linkedIn
- Etsy and selling work- not priority
- AOI talks and events
- establishing contacts and industry research
- menitorship program- direct links to what I want my career to be

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Saffa Khan
Nick Burton- ur plague year
Chris Haughton
Adrian Johnson
Plenta Tangerina
John Cage
Sister Corito Kent

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- calligrapher
- adobe fonts
- print.work sample pack
- arjowiggins paper
- paper poetry
- Le Gun?
- rare mags
- how does the paper add to the context of the pub?
- newspaper club
- stack magazine (note who the judges are)
-saffa khan- good site, mix of trace and riso
-she has an overarching name like tender hands press- this is a good idea for small press
-bookbinding kits, Japanese screw punch

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website
- best bits at top
- group things like 'editorial'
- get a domain name!
- get an email for @ashblades
- show that I can produce certain things- put illos on book covers, billboards, packaging etc. working concept models, show work in context
- use personal work to fill in gaps in portfolio
- make a tab for 'experiemental work' to separate it from main illo stuff

building a client list
- start studying the industry
- when you see a good advert- see who designed it and find out about it, good packaging etc, find the art directors
- reaching out to clients need to be personal
- invest in a directory eg- AOI editorial directory = bikini lists (expensive)
- Email loads of people and if they don't get back to you within the week then call them
- you can still ask for work experience post-grad

social media
- build a community instead of numbers, quality over quantity
- use insights
- algorithm LOVES consistant scheduel
- engage with the community- comment, share etc

more info on iPad screenshots

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- make your own projects- book gallery space, give yourself deadlines and briefs
- The process is the project- make that the story
- Make sure the work doesn't just look backwards- how does the work make us look to the future?
- Don’t gloss over everything, make it messy. The imperfections make things interesting

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- domain name for website
- behace links with adobe portfolio, more networking forward then instagram
- Portfolio w/AOI to have alongside regular website
- check SEO’s ctrl+U
- images 72dpi and not over 1000 pixels wide- emails and website
- disable right click
- Don’t work without context

Social Media
- set up a new shop that works with instagram- when I've exhausted old stock
- making jpegs that continue on from one another for instagram>
< canvas size- making sure the size in proportional to how many squares you want - view - new guide layout - 5 column, slice tool (by crop tool) - slice each ind section, export - save for web - this saves them individually.
Basically the slice tool is what does this

Mockups
- adobe stock is good (buy credits)
- placeit, mockup world, format, sites

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Aside from the studio practice, Rocío and Helena are themselves prolific, "embarking on plenty of creative and plastic adventures," they say, including ceramics, ink, typography and drawings. Similarly, Pol can't seem to stop drawing. "In a time of achievement-oriented culture, where we have structured our culture around work, not play," Rocío and Helena remark, " Free Time focuses on the importance of leisure."

They continue: "In a way the lockdown has been a stop in time to discover oneself, almost like a child spending hours painting, playing. We suddenly realized how broad and inclusive the idea of free time is, to dive into and celebrate everyone's free time, alone time, 'me' time, as much as we make of our own."

With it being such a broad subject, Pol, Rocío and Helena brainstorm a specific theme for each issue (such as "Day and Night" in their previous issue), and then decide what subjects and what angle to take on that theme. This extends into the design and production of the magazine as well, with each issue being a different shape whilst maintaining the same layout - casually including a rainbow somewhere as well. "We really pay attention to details and the production of a well-designed and beautiful collectible object is very important for us," they explain. For instance, they pasted photographs by hand into the first issue, and also develop new merchandise for each issue.

With an astute awareness of the current climate crisis, the team went above and beyond for the packaging of issue two, screen-printing each individual packet. "We did a big search for used plastic bags (including old and iconic ones)," Helena and Rocío explain, "asking plastic bag collectors, walking everywhere around Paris streets and shops to ask people about this object." In doing so they hoped to contribute as little as they could to the production of waste and tried to respond creatively to the act of reusing and recycling.

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Free Time is a magazine for our current moment, celebrating the wonder of spare time

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Aside from the studio practice, Rocío and Helena are themselves prolific, "embarking on plenty of creative and plastic adventures," they say, including ceramics, ink, typography and drawings. Similarly, Pol can't seem to stop drawing. "In a time of achievement-oriented culture, where we have structured our culture around work, not play," Rocío and Helena remark, " Free Time focuses on the importance of leisure."

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Collect the different symbols you’re using for this project and what they could mean:
- windows, birds, eyes, jars, houses
What artist have done these kinds of things before?
How can I convey the narrative of multiple stories with many different symbols?

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Make a plan for something I could produce?
- A risk graph
- A small book/ zine
- A laser cut out
-An animation
anything that isn’t just a drawing/ print

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Start making some textures and paper-cut outs to play around with

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Use the one-week brief book and include bits from previous projects

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Small 4 day brief of making my own visual language and new drawings to bounce off for the project, using everything I’ve made previously to establish my illustrative language.

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Outsiders

For the Outsiders project Mini Galerie invited ten Dutch artists from their program - Louis Reith, Graphic Surgery, Zedz, Raymond Lemstra, Thomas Trum, Rutger de Vries, Jordy van van de Nieuwendijk, Joost Stokhof, Jeroen Erosie and Merijn Hos - to create an artwork for the streets of Amsterdam. These artworks can give you hope, laughter, beauty and more in these uncertain times. The project is supported by the Amsterdam Fund for the Arts.

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For the Outsiders project Mini Galerie invited ten Dutch artists from their program - Louis Reith, Graphic Surgery, Zedz, Raymond Lemstra, Thomas Trum, Rutger de Vries, Jordy van van de Nieuwendijk, Joost Stokhof, Jeroen Erosie and Merijn Hos - to create an artwork for the streets of Amsterdam.

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This is a response to working from home more but has longevity as it simply focuses on wellbeing in no particular time. So my work is in response to this a year, but doesn’t need to focus around these terrible events.

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Mundane and overlooked narratives

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Olivia Twist is an Illustrator, Arts Facilitator and Lecturer from east London with an MA in Visual Communication from the Royal College of Art. The key threads which can be found in her work are place, the mundane and overlooked narratives. Her striking visual language comprises of a myriad of esoteric layers informed by a propensity for human-centered research methodologies.

She is determined to make the arts, heritage institutions and arts education more accessible and representative of their local communities. Olivia has a strong interest in participatory design, relational aesthetics and documenting social history as it unfolds.

As a practitioner her aims are to provide her audience with 'the shock of the familiar' and to trigger greater intergenerational discussion.

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Olivia Twist is an Illustrator, Arts Facilitator and Lecturer from East London with an MA in Visual Communication from the Royal College of Art. The key threads which can be found in her work are place, the mundane and overlooked narratives.

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reacting to immediate surroundings

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Kate Scott

10.11.2018 - 05.12.2018

Kate Isobel Scott, born 1988, is an animator and illustrator originally from Australia. After studying Illustration at Falmouth University in Cornwall, Kate briefly worked as a studio assistant at Tracy Emin, followed by a few years of working in set design in London. Kate is currently based in the Netherlands where she paints and works on stop motion animations.
Besides working on her animation projects Kate Isobel Scott paints and draws her direct surroundings. Maybe as a release from the intensity of model making and set building. Her paintings, in a way just like her animations, also tell short stories. They are quick observations, capturing brief moments of time, quirky depictions of people, objects and architecture seen around us. You can think of Kate's paintings as recordings of our culture, capturing everyday situations. Situations that are easy to overlook, to miss, to walk straight past. A man and women sitting in the sun, a woman waiting for a bus, some food ready to fry at a Dutch snackbar...
"everything seems to be so fast-paced that we are inclined to overlook the beauty, simplicity, and the design of everyday situations and objects. My aim is to make you stop and recognize the overlooked. Depict those recognizable situations we all just take for granted. I enjoy documenting everyday things in paint. The idea is to give the audience a new appreciation for the familiar."
Kate will be showing paintings and small sculptures. The exhibition "What are you looking at?!" runs from November 10 - December 5

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Kate Isobel Scott, born 1988, is an animator and illustrator originally from Australia. After studying Illustration at Falmouth University in Cornwall, Kate briefly worked as a studio assistant at Tracy Emin, followed by a few years of working in set design in London.

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Small boxes that reflect life in lockdown
Stop-motion combined
Available to contact potentially

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Cabinet of Curiosities. Olmoost a picture a day.

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Collective memory and facts mixed together? This way, real research is involved as well as social research

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Creating a cohesive narrative of a space

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Audible- visual identity for a book
giffgaff- TV spot for recycling your phone

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Brief not posted yet for next year???

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The most highly commended entries entered are chosen by a professional industry selection panel for inclusion in the annual and, from these, for the 2023-2024 exhibition. The Illustration awards receives over 800 entries each year from all over the world and is sent round the globe!

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not announced

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THE TRINITY BUOY WHARF DRAWING PRIZE 2021

The Trinity Buoy Wharf Drawing Prize was founded in 1994 and is celebrating the 26th consecutive annual exhibition in 2021. The exhibition and awards are open to applications by emerging, mid-career and established drawing practitioners UK-wide and internationally.

The Trinity Buoy Wharf Drawing Prize is open to all drawing practitioners from anywhere in the UK and internationally. Up to three drawings may be entered by each applicant for consideration by the Selection Panel.

THE TRINITY BUOY WHARF DRAWING PRIZE 2021 EXHIBITION

The annual exhibition of around 65 drawings is selected by a panel of distinguished selectors. There will be a separate display of the drawings shortlisted for the Working Drawing Award within the overall exhibition.

The Trinity Buoy Wharf Drawing Prize 2021 exhibition will be launched at Trinity Buoy Wharf in London in September 2021 before touring to venues across the UK. A fully illustrated publication will be produced to accompany the exhibition. Shortlisted artists and drawing practitioners will be invited to the Exhibition Launch and Awards Announcement at Trinity Buoy Wharf in London on 29 September 2021.
trinitybuoywharf.com

THE TRINITY BUOY WHARF DRAWING PRIZE 2021 AWARDS:

First Prize - £8,000

Second Prize - £5,000

Student Award - £2,000

Working Drawing Prize - £2,000

Evelyn Williams Drawing Award - £10,000

Please note that the Working Drawing Award has a separate online entry process with its own expert selection panel. Please see the Working Drawing Award Pages for details of how to enter for this award.

The biennial Evelyn Williams Drawing Award is supported by the Evelyn Williams Trust and is awarded to a selected artist with a significant track record to develop and realise a body of new drawings for a solo exhibition or to realise a new exhibition installation otherwise based on their drawing practice at Hastings Contemporary. Please note that students are not eligible for this award.

TRINITY BUOY WHARF DRAWING PRIZE 2021 SELECTORS

The Trinity Buoy Wharf Drawing Prize 2021 exhibition and awards will be selected by:

Sheela Gowda

Artist

Dr Simon Groom

Director of Modern & Contemporary Art, National Galleries of Scotland

Dr Zoé Whitley

Director of Chisenhale Gallery

The Evelyn Williams Drawing Award will be selected by:

David Alston, Evelyn Williams Trustee

Elizabeth Gilmore, Director of Hastings Contemporary

Anita Taylor, Dean of Duncan of Jordanstone College of Art & Design, founding Director of Trinity Buoy Wharf Drawing Prize & Drawing Projects UK

THE EXHIBITION SELECTION PROCESS IN 2021

The Trinity Buoy Wharf Prize 2021 exhibition is selected from original drawings. Please note that there is a separate process for the Working Drawing Award ( tbwdpworkingdrawings.artopps.co.uk/ ).

There is a two-stage selection process for the Trinity Buoy Wharf Drawing Prize 2021:

Stage 1: Drawings are registered by 5pm on 17 June 2021. The Selection Panel will choose a longlist of drawings from the online entries. All works are viewed without reference to their maker. Entrants will be notified by 5pm on 25 June 2021 of the outcome.

Stage 2: All entrants with longlisted drawings will then be required to deliver them to one of our Collection Centres located across the UK or directly to Trinity Buoy Wharf in London during July 2021 for the final selection process.

Selected Works: Drawings shortlisted for the exhibition and awards will be announced after the final selection in July 2021.

Exhibition & Awards Announcement: The Trinity Buoy Wharf Drawing Prize and Trinity Buoy Wharf Working Drawing award winners will be announced in September 2021.

Please click How to Enter for further details.

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The Trinity Buoy Wharf Drawing Prize was founded in 1994 and is celebrating the 26th consecutive annual exhibition in 2021. The exhibition and awards are open to applications by emerging, mid-career and established drawing practitioners UK-wide and internationally. The Trinity Buoy Wharf Drawing Prize is open to all drawing practitioners from anywhere in the UK and internationally.

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FAQ

Where will the showcase be?

The Unpublished Picturebook Showcase will be on the dPICTUS online platform. Hundreds of international picturebook publishers and agents come together on the dPICTUS platform to promote their titles, secure rights deals, discover new talent, and make new publishing connections around the world. There's a strong and active community of publishers from over 50 countries, including many of the world's most creative and innovative children's book publishers, and winners of prestigious awards such as the BolognaRagazzis. All through the year, the selected unpublished projects will be showcased in full to world-class publishers searching for talent, and to renowned specialists in picturebooks and illustration.

Learn more about the dPICTUS platform
See some of the publishers in the dPICTUS community

Will there be a book fair showcase, like you had in Frankfurt last year?

Due to Covid-19, we're not sure exactly when we'll be able to have a physical showcase at an international book fair, but we do intend to do this in the future. Until then, The Unpublished Picturebook Showcase will be online, year-round, on the dPICTUS platform.

Is this a competition with an overall winner?

Our main goal with this initiative (we don't see it as a standard competition) is not to find a 'winner'; it's to give all the artists, illustrators and emerging picturebook makers who submit a project the unique opportunity to have it considered by many of the finest publishers in the world - and to promote all the selected projects to the hundreds of international publishers in the dPICTUS community.

Is the showcase only for new and emerging artists and illustrators?

In our first showcase last year, artists who'd had more than 3 picturebooks published in the past were not eligible to enter. But this time, we're opening up to any picturebook artist, new or established, who would like to submit an unpublished project.

How many projects will be selected for the showcase?

Of the 350 submitted projects last year, 48 received enough jury votes to go through to the showcase. We don't yet know how many projects will be selected this year; it's up to the publishers on the jury.

Is the showcase only for children's picturebooks?

The initiative isn't only for children's picturebooks. Some of the publishers on the jury are tightly focussed on the child audience with the books they publish, but others publish picturebooks and illustrated books for a wider audience. We recommend you visit the websites of the publishers on the jury last year, to get an idea of the types of picturebooks they publish, and if your project could appeal to them.

Does my project have to be finished?

Your project can be a mix of illustrations and sketches/roughs, but the whole book must be visualised.

Do you accept wordless/silent picturebook projects?

Yes we do.

Do you accept self-published picturebook projects?

Yes.

Do you accept text-only picturebook projects?

No, the whole book must be visualised.

How many projects can I submit?

You can submit up to 3 projects, but you'll need to fill in a separate application form and pay the application fee for each submitted project.

What is the selection criteria of the jury?

Each member on the jury can use their own criteria to choose projects, but will be looking for projects which demonstrate a strong understanding of the picturebook form. Publishers on the jury for our first Unpublished Picturebook Showcase last year told us that they chose projects based on a number of aspects: the subject, the development of the idea, the story, and the quality of the illustrations/graphic work.

Which publishers are on the jury this year?

In 2019, for the very first Unpublished Picturebook Showcase, we had a jury of 30 top international picturebook publishers, which you can see listed here. On the 2020 jury will be some of the publishers who took part last year, plus some new ones. At least 30 publishers will be on the jury.

Will you tell us which publishers voted for my project?

We understand that many of you will be interested to know which publishers voted for your projects. But after discussions with publishers on the jury, we decided not to give out this information. Many of the publishers' criteria for voting isn't based only on what they could/would publish in their country/market, but on projects which interest them personally. So we're able to tell you how many of the publishers voted for your project, but not the names of the individual publishers who voted.

Having said that, the jury publishers will have all the applicants' contact emails, so if any of them are interested in publishing your project, they'll surely be in touch.

Will I receive personal feedback on my project?

It's not feasible for each publisher on the jury to provide personal feedback on several hundred submitted projects; the selection process is already extremely time-consuming. However, we'll gather all the general feedback we receive from the publishers, and make this available to all applicants.

I've submitted my PDF file; can I send an updated version later?

Yes, as long as you submit the final PDF before the submission deadline (25 July 2020), that's fine.

Why is there an application fee?

The €45 application fee goes towards our organisational and development costs. Please note that the publishers on the jury are not being paid to look at the submitted projects.

I don't have access to PayPal; how do I pay the application fee?

If you don't have access to PayPal in your country, we recommend asking a friend or family member to pay the fee on your behalf.

If my project isn't selected, will I receive anything?

Whether your project is selected or not, we believe that getting your work under the eyes of so many great international publishers at the same time is worth the application fee. Many of these publishers don't generally accept unsolicited submissions, so this is a fast track to the desks of these busy publishers and editors.

Does my picturebook project have to be in English?

We welcome projects in any language, but we recommend including a draft English translation of the text if possible (either within the art spreads or by adding the translation at the end of the PDF file). This will help the international jury of publishers better assess your project.

Can I still submit my unpublished project to publishers while it's under consideration for The Unpublished Picturebook Showcase?

Yes, you're welcome to submit your unpublished project to publishers while it's under consideration/part of The Unpublished Picturebook Showcase. But if your project is acquired by a publisher before 25 July 2020, please tell us, as we'll need to remove your project from the jury selection process. If this happens, we'll refund your application fee in full.

If my project is selected, how long will it be showcased on the dPICTUS online platform?

We plan to showcase all the selected projects on dPICTUS indefinitely. The idea is that The Unpublished Picturebook Showcase grows each year and becomes an increasingly valuable resource for picturebook publishers searching for talent.

Who will have access to my project online?

All the publishers and agents who are members of the dPICTUS community will have access to your project on the dPICTUS platform. The platform is invitation-only and password-protected. See some members of the dPICTUS community

The dPICTUS Terms of Service specify that members of the platform (mostly publishers and agents) must agree that all 'content' on the platform is protected by intellectual property rights, and they shall not use, reproduce, modify, copy, publish, transmit, distribute, upload, link to, display, sell or otherwise exploit any of this content without written permission from the respective owner.

If you don't feel comfortable for your full project to be accessible online, you're welcome to show a selection of spreads. Publishers can then contact you if they'd like to see a complete PDF.

If my project is acquired by a publisher, will it be removed from the online showcase?

If your project is acquired by a publisher, it will remain in the showcase. But we'll add a note to say that your project has been acquired.

If you have any questions not listed above, please get in touch: [email protected]

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The Unpublished Picturebook Showcase | dPICTUS

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Picturebook makers from around the world submit their unpublished projects to be considered by a large jury of international publishers. The publishers vote for their favourites, and the projects with the most votes go into a unique book fair showcase and are presented to the dPICTUS community.

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The V&A Illustration Awards were established in 1972 and have since become one of the UK's most prestigious illustration competitions. The Awards celebrate excellence from those emerging in the field as well as categories devoted to professional contemporary practice. The Awards are generously supported by The Linder Foundation and the Moira Gemmill Memorial fund.

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The V&A Illustration Awards Archives * V&A Blog

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The V&A Illustration Awards were established in 1972 and have since become one of the UK's most prestigious illustration competitions. The Awards celebrate excellence from those emerging in the field as well as categories devoted to professional contemporary practice. The Awards are generously supported by The Linder Foundation and the Moira Gemmill Memorial fund.

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Need to read into the books but only interested in the non-fiction one, notmy first choice though so maybe not

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Silent book- 4th April? 14 page template

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student one- 31st march 'our planet'

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Specific to my positivity project, brining mindfulness to people and making it accessible. Focusing on wellbeing in a difficult year

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Creativity for a better world. We are a creative community and global not-for-profit organisation who believe that creative thinking and innovation can make positive change.

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Not fully understanding what lay in store within the world of illustration, Molley "fairly randomly," decided to study the subject at university whilst doing her A-Levels. "I'm not sure that I had a huge understanding of what it was at the time," Molley tells us, "but I think it felt more accessible to me than fine art or painting." Growing up watching animated films and reading children's books, Molley explains that "art galleries and art history just wasn't part of my life at all," hence finding a greater sense of creative influence from the former. "A thing I love about illustration is how broad it is and how it seems to have very few barriers as to what it can be," she notes, demonstrating how the nature of illustration is more immediately approachable and understandable. Perhaps with less pretension than the realm of fine art, Molly revels in the diversity of the medium - "I see illustrators drawing with pencils and also illustrators making rugs," adding "I think it has a playful and unstuffy nature and that feels so liberating."

This ethereal, unrestricted and unpredictable spirit that Molley finds exciting seems to lie at the very core of her work, with candid spectacles that enclose a rich character and inherently gentle nature. "I would say that my practice is based in drawing and observation at the moment," Molley explains. "I work traditionally and experiment a lot with materials and mark-making so it feels like it moves around quite a lot." This is apparent in the energy and human presence of her illustrations, that indicate a personal, almost biographical truth to her work.

Within this, however, there is a humour and sense of joy that leaves a quiet and warm feeling in your chest. To this end, Molley has more recently found herself using a dip pen. Adoring the fluidity and simplicity of the tool, it has allowed her to produce exciting, stripped-down scenes that rely on instinct and feeling as much as skill, resulting in raw and delicate illustrations. "A person online told me this year that my work was lazy," Molley explains, "and I think if anything this has spurred me on to try and make the laziest drawings possible."

"I would say that most of what I do is non-commercial and comes from a personal place," Molley adds, creating both individual drawings and foldable booklets, "I try and keep these slightly un-linear as I love the idea that people may look at it in a completely different way to me," she tells us, highlighting the ambiguity of emotion instilled with her characters and still-life drawings. Beyond her personal practice, Molley's work partners with the music she's listening to, explaining that "I think often music is coming from an emotional place, and open to interpretation," recalling that, "it feels like a good blend." This relationship between her illustrations and music seems poetically fitting to the work itself; much like it is the case in music where the most important part is the spaces between the notes, so too is often the case with Molley's work, whereby what is deliberately left out is reflective of what is left in.

Despite her work seeming initially "a bit disjointed sometimes," Molley frequently returns to the same themes, often almost therapeutically using drawings to understand her own experiences and feelings. "I'm very interested in the idea of self and relationships," she explains, "in understanding who we are/what other people understand about us." The personal nature of her illustrative investigations means that although specific to Molley, the outcomes can appear quite abstract, taking joy in the fact others may "find their own strand to relate to," within her work.

"I've recently been stuck on the idea of being overwhelmed and the feeling of being desperate to say or do something but not being able to make yourself get there," Molley tells us, explaining the context of her latest project Say It, a large scale fold-out poster zine. Featuring extracts from her recent foray into oil pastels and accompanying poems, the project came into being after an experience of being intensely overwhelmed. " It started about a year ago when I was walking around packed London and I was overwhelmed with the desire to tell the stranger next to me on the platform that I was in love with them," Molley remarks. "I obviously wasn't but I think it stemmed from a deeper need to be seen or a craving for love," she explains.

"It's a feeling I've felt frequently, a kind of scrambling inside for something, and I draw about it a lot," expressing the accompanying feelings of "intensity and ambiguity," creating an interactive zine that both subliminally overwhelms you and comforts you. Throughout the zine is the hidden phrase "Say It" repeated over 30 times, giving one a sense of unease, however, the nature of being able to read it however you please gives you a somewhat cozy feeling - "I want people to think about unwrapping things or blooming or kaleidoscopes!"

The future looks exciting for Molley, who's currently working with an Italian hip-hop artist, interpreting a childhood photograph of him, playing with the themes of growth, the future and trust - thrilled to have been given a lot of creative freedom in the project. She is also working on more client work and looks to finally execute an idea that has been floating around her head for years; documenting the weird stuff her mum has collected - "we have the same maximalist style and there are strange little things and bits all over the house," Molley explains. "I've toyed with the idea of making a collection of drawings around this for years but now might be the right time!"

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Molley May's "lazy" illustrations are both therapeutic and utterly delightful

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Somerset-based illustrator Molley May has returned back home after living in London during, as she describes, "a very intense 2020-pandemic-summer." Now enjoying the peace and quiet of the countryside, we speak to Molley about her equally idyllic illustrations.

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(and have explored previously)

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- Designing books and book covers
- Murals and editorial work
- packaging? and pattern?
- short animations/ AR

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drawing their quarantine experience and collaboration, combining their experiences together

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In terms of a brief, it appears the pair approached the project by looking at their belongings and home set-ups in a new light. For Joost he describes being "pretty much focused on small signs of life while looking out of the window of my tiny study at home," he explains. Gazing out of this window, the framing offered a "scene" like quality to his view, where details such as a "waving curtain, a pigeon looking for food" each played a reassuring part in reminding the illustrator that "some aspects of life still went on as usual". For Marcus it was more inside objects which piqued his interest, particularly utensils that he was now "constantly interacting with," he says. "Often staring at the walls and all the plants and ornaments arranged around the home absorbing the slow mundanity of the daily rituals day after day, after day... It reminded me that inspiration can be anywhere and everywhere."

The result is a zine where, on certain pages, it feels difficult to separate Marcus and Joost's work - or maybe it's just because the items they reference feel so similar to what we each see around us in this current new normal. Joost describes how this process has been a careful one, explaining he "was quite cautious with combining our drawings," adding that, "I tried applying logic and was basically way too careful. When Marcus sent me the first set of illustrations where he combined our drawings he did so in a free and playful way, which made these drawings way more exciting." Marcus adds that he simply "overlayed them together so the drawing would become one, compressing, crushing and squashing our lines together."

Overall enjoying the digital collaborative aspect of "creating a kind of email/art/drawing/scanning/emailing/drawing/emailing and finally into printed matter," the final zine, A Couple of Days in Quarantine, is a lovely example of how unlikely and unified collaborations can develop even when we're separated.

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"It reminded me that inspiration can be anywhere": two distant illustrators draw their quarantine experiences

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In terms of a brief, it appears the pair approached the project by looking at their belongings and home set-ups in a new light. For Joost he describes being "pretty much focused on small signs of life while looking out of the window of my tiny study at home," he explains.

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Equally reflected in his process also, he begins by finding inspiration in Buddhist, Hindu and medieval paintings, studying Javanese wisdom and listening to psychedelic music. After which, he will take some time for self-reflection and focus on his current thoughts: "Then I begin simply by sketching with a pencil and pen, and finding words to accompany each drawing." These words will later take form in either found and modified typefaces, or self-illustrated ones which resist conforming to the faddish trends of typography. The final stage in the process is the scanning of his illustrations into Photoshop, where he begins to colour.

Fatchurofi's use of colour is just as considered as the other aspects of his practice. Predominantly working with a palette of primaries, he says he prefers to use bright colours and minimal shadowing to evoke lightness and minimise "dramatic tension" in his illustrations. Coupled with the flat linework, he explains that this compensates for the lack of contrast.

Looking forward however, Fatchurofi tells us that he is open to change: "My style is not fixed, I'm interested in exploring different uses of colour in my future works."

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Fatchurofi finds mindfulness influences his illustrations

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Equally reflected in his process also, he begins by finding inspiration in Buddhist, Hindu and medieval paintings, studying Javanese wisdom and listening to psychedelic music. After which, he will take some time for self-reflection and focus on his current thoughts: "Then I begin simply by sketching with a pencil and pen, and finding words to accompany each drawing."

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- Get out more and start drawing the world
- Start focusing on the overlooked narratives around me and what can be be created from them
- Be free and playful with drawings still

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- how can my work impact the outer world?
- what artists do this already?
- what is my favourite work and how can I push it?
- what are my own weaknesses?
find trust in what I've already done