17�Թ�����

Creatives have a rather thankless task. Behind the curtain and stage, lay an industry saddled with high competition, often poor pay, little appreciation for the knowledge and time needed to deliver quality, and the grinding pressure of producing work that’s better than the last.

Abstract Sunday illustrator, Christoph Niemann, describes creativity as “like chasing chickens.” It paid like it too when I was a mere fledgling writer. What other industry expects you to work for free, or volunteer your skills and services at entry-level?

It’s a really challenging phase when you’re starting out as a creative. But after I’d spoken to and , co-chairs of the , I wish I had the support they’re offering to budding graphic designers today.

Graphic design in the world of TV and film

Getting into creative industries is often a murky path, but especially so in the world of TV and film. More often than not, you need good connections. But even then, the path is not well-trodden. “There isn’t a traditional route into the film industry,” Andy confirms.

That’s just one of the many reasons why the Graphics Union was formed in 2015. Its goal is to represent, champion, and showcase the role of the graphic designer within the Art Department in the UK TV and film industry.

However, when I spoke Andy and Camise, I got a sense that their ambitions are much more altruistic and far-reaching. They spoke with such warmth and understanding it made me want to drop my pen and pick up a brush instead.

The more I spoke to Andy and Camise, the more I got the sense that every designer should connect with them. They certainly encourage it. When Andy gets an email from designers, he always signs off saying: “Don’t hesitate to contact me. Never feel like you’re pestering.”

One of my favourite things about talking to creatives in any industry is finding out how their careers unfolded. It always feels like everyone has such unique journeys. The Graphics Union recognises this and says to designers: we’re here to help.

Creatives spend much of their early years crafting beautifully ornate rocks to throw at the doors of the industry they’re trying to break into. But the Graphics Union is offering a key into the world of TV and film.

Extra support from the Graphics Union

The good news doesn’t stop there for Graphics Union members though. Camise and Andy have a wealth of experience members can draw upon.

Designers in film and TV have to be so versatile. They may find themselves creating typography, period designs, legal documents, backdrops, posters, signwriting, floor designs and many other assets needed for a production.

Camise elaborates: “You dive head-first into a world for six months, and you go from being a novice to an expert on something really specific like 70s slasher movie posters.”

It sounds daunting, but also loads of fun. That’s why both Andy and Camise tell me that when they’re looking for an assistant, they’re not solely interested in technical design skills.

“Of course, we want someone who knows their way around the Adobe Creative Suite and can demonstrate an understanding of good design,” Camise tells me. “But that’s a given from anyone who’s figured out our job exists and has reached out. We’re not always looking for the most manicured portfolio, we can teach you on the job.”

What’s hard to teach is application and attitude.

Camise continues: “We’re looking for somebody who’s got tenacity, who’s innovative. Somebody who’s deeply interested and inquisitive, who can go away and research something themselves.”

Navigating the world of clearances

Creatives aren’t usually too shy about widening their skillsets. It keeps things fun and interesting. But sometimes, designers have to go way outside their comfort zone and into the world of clearances.

Andy references the time a large studio was sued for clearance infringement and how that caused a ripple effect throughout the industry. So studios are very hot on this in a way that widened the responsibility of the graphic design role.

Camise explains further: “Now you have to do the design work but then you have the additional responsibility of the legal endeavour, which is where 17�Թ����� comes in. You can’t just grab something off the internet.”

17�Թ����� has hundreds of millions of assets to choose from. Rights and clearances can be secured for many of them because 17�Թ����� has a longstanding partnership with Six Degrees who have over 25 years’ experience securing rights and clearances for a wide range of use cases all around the world.

This means designers like Camise and Andy are able to source content quickly while feeling safe and secure that the content won’t cause any legal issues.

Camise continues: “So we’re finding ourselves in this situation where we’re not only providing high quality content under short deadlines that can’t be moved but we’ve also got to pass it through legal for sign off.”

It’s something many creatives who work with clients can relate to. Legal might force you to change the image, then you have to work up something new very quickly, then get it to the Production Designer or Director, and if they don’t like it, the cycle starts all over again. It can get very stressful very quickly.

“This is why 17�Թ����� is so important to us,” Camise explains. “My most recent jobs have been working on The Crown. And I’m looking to get believable, period images that aren’t the same five you see on other stock image sites.

“17�Թ����� has a textural and sumptuous quality that lots of other image libraries are lacking. So when I’m doing something high-end and period, my go-to is 17�Թ����� because I know that your content is real and historically accurate, and not some badly done pastiche.”

It’s really hard to overstate just how high pressure the TV and film industry is. Andy explains how there might be last minute changes, the script might not be confirmed yet, or there might be a change to the location. As a result, Andy sometimes leans on his 17�Թ����� Account Manager to help him find the right image.

“I’ve got a really good dialogue with Niki Lewis [Andy’s Acccount Manager at 17�Թ�����],” Andy tells me. “If I can’t find something on 17�Թ�����, I’ll say ‘Niki, can one of your people take a look? This is what I want.’ We always find a solution.”

Strength in numbers at the Graphics Union

But despite the wealth of knowledge that members can draw on, ultimately, they will be looking for guidance on how to negotiate better rates and fees.

Camise tells me: “There are people who are very experienced but perhaps less gutsy, and less good at negotiating being offered less money than people who are more laissez-faire about their job. This isn’t good for anybody.”

Most creatives I know started forging their skills out of love and passion at a very early age. Are we being fairly compensated for this dedication?

It can be awkward for freelancers to talk because you’re competing with each other for work. But as is the way with unions, there’s strength in numbers. If everyone is more transparent about what they’re being paid, then everyone has much better idea of their worth. When employees and freelancers don’t talk about pay, it only helps the employer.

Andy also reminds me: “Then there’s our kit as well. We use various design software, we have printers. The kit allowance wasn’t reflecting the cost of our equipment.”

Camise adds: “You could easily turn up with £20,000 worth of equipment and they want to give you £5 per day for it, capped at £500. And somebody else could be getting £50 a day uncapped because they were more bolshy in their negotiations. We need to talk to each other so that everyone can be paid more fairly.”

Graphic design in TV and film sounds like a niche career choice. Andy and Camise confirm that many young designers don’t realise it’s something they could get into. This is why they want to cast their net far and wide because they feel there’s untapped potential there and the industry needs more talent.

It’s also why they were keen to emphasise the support they’re able to provide either personally or through the Graphics Union. In their eyes, the barrier to entry is quite simple: be inquisitive, be passionate, be tenacious, then we’ll carry you the rest of the way.