Offset Printing (Print roller experiments)

Offset printing experiments

Using a roller to apply ink to a relief plate, picking the inked design up off the plate with another roller and then applying the roller design on to a piece of paper.

Marc Burckhardt

I have been emailing various artists and illustrators recently in order to find out more about my practice and the advantages and disadvantages of working with an agency, particularly in overseas work. 

I gathered some interesting responses and also received no communication from a number of sources I emailed. However Marc Burckhardt was one of the artists kind enough to respond. 

So i enquired if Marc, a US based artist and illustrator, would be able to answer some questions about what it's like to be an illustrator in the modern age.
 I asked various questions about working on briefs overseas and how he manages this with the aid of the internet and the agency he is part of; "Dutch Uncle" (www.dutchuncle.co.uk) 

Here are some details gathered from our exchange:

[Louis] - How do you promote your work to an international client base?

[Marc] - I manage all my US clients and have for 20+ years, but have an agent in London who represents my work in Europe and Asia. I also send promotional books out approximately every 2 years to a wide list of global clients. This, combined with a broad digital presence and work in various international annuals brings projects in from around the world. 

[Louis] - How do you manage your on line platforms such as blogs and websites, and how far do these services aid in the promotion of your work both (self initiated and commission based)?

[Marc] - I have a number of digital outlets for my work currently, including Illoz, Drawger (blog), a commissioned work site as well as a gallery specific one, my agent in London, and a number of galleries around the US that also feature my work on their sites. Keeping these fresh and present is a great deal of work—I could do a better job of updating—but like all things in a freelance career, time has to be balanced between creating the work and creating a market for new projects. 

[Louis] - Are you mostly independent or are you involved with any agencies? If so, how has your agency benefited you?

[Marc] - As mentioned, my London agent is my European representative for commissioned projects, and this relationship has been fruitful. Unlike many agents, her office works hard to meet potential clients and give the art exposure. The global presence and staff is also beneficial when working with clients around the world, as my agent can field urgent questions in the cient's time zone, speeding the rate of communication on time-sensitive projects.

[Louis] - Have you personally benefited from the extensive reach your work can now obtain? (due to the internet and ease of global access?)

[Marc] - Definitely. The key for any artist is to find a unique voice, one that people globally will seek out. The digital revolution has flattened the world and made access to clients—and their access to you—as easy as working with someone down the street. Just in the last few months I've worked with clients in England, Norway, Germany, Spain, China, Mexico, and of course the US. 

[Louis] - Do you have any advice for young illustrators emerging in a competitive global market?

[Marc] - As mentioned above, find your voice—something that no one else offers that will drive clients to work with you. Global access makes reaching you easy, but it also gives your clients the entire world of artists to choose from. Have something to say and your own way of saying it—that's what will build a strong and lasting career.


To find out more about Marc and his art visit his website: www.marcart.net

Origins monoprint

Monoprint background experimenting with drawn, template and removal techniques

Slavic Relief Prints

A selection of relief prints (Lino Cuts) that I have been working in recently to do with Chernobog and Bylebog from my Slavic Origins project. 

Collographs

A Spectrum of my Collograph prints

A typical Monday evening at UCA Illustration studio

What to do with an empty studio on a Monday Evening?

Cover the room in prints of course!

Images of said Collograph prints, relating to my new project, to follow soon.

Oink To Tail

Another retrospective for you:

This is the first page of a book I created in November, all about butchery. 

Here are just a few of the images you can find within.

Hello

So, this will be my first post on my redesigned blog.

To introduce you to what I do, here's a few images in retrospect of the paintings that I have produced during the last year. 

Snail House (Coffee and Ink on Bockingford paper 15 x 21 cm)

Sunbarine (Gouache on Bockingford paper 38 x 50 cm)