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CAREERS IN THE CREATIVE INDUSTRY
September 2013
EXPLORE THE OPPORTUNITIES
How many creative roles did it take to produce this image from TV’s Game of Thrones? An insight into the vast and varied
opportunities within the creative industry
STARTING OUT Understand which route is best for you
A spotlight on
AN INDEPENDENT SUPPLEMENT DISTRIBUTED WITHIN THE GUARDIAN ON BEHALF OF MEDIAPLANET WHO TAKE SOLE RESPONSIBILITY FOR ITS CONTENTS
PHOTO: JACK GLEESON AS JOFFREY BARATHEON AND SOPHIE TURNER AS SANSA STARK. PHOTO CREDIT: HELEN SLOAN / HBO
WHICH SECTOR?From fashion and
design to media and digital technology
YOUR COMPLETE GUIDE TO THE CREATIVE
INDUSTRY
#CREATIVECAREERS
2 · SEPTEMBER 2013 AN INDEPENDENT SUPPLEMENT BY MEDIAPLANET
The creative industries need wide-ranging talent
The creative industries is growing rapidly and, in order to fulfi l its employment needs, it requires talented people with a broad range of skills, says Dinah Caine CBE, Creative Skillset CEO.
The UK’s creative industries is a growth sector — one which has con-tinued to fl ourish even in the teeth of a recession, with
recent statistics showing that em-ployment levels have been rising over a four-year period.
This growth shouldn’t be sur-prising because, as far as content creation is concerned, the UK is a world-leader. Currently, the UK is the largest producer of TV and radio content in Europe, with only the US generating more value from TV exports globally.The UK has the largest publish-ing industry in Europe, and the third largest filmed entertain-ment market globally, after the USA and Japan. We also have the greatest amount of content for computer games studios in Europe; and our advertising in-dustry is the third biggest in the world. Plus, for those who work in it, the creative industries is a hugely dynamic, exciting and fulfilling sector, making it a pop-ular choice with learners and job-seekers alike.
Creating a diverse talent baseOne thing the creative industries isn’t, however, is complacent.
Preciselybecause the sector is experiencing such growth, we know its continued future suc-cess in an increasingly competi-tive world depends on a broaden-ing and deepening of the work-force skill profile. This means finding individuals with a core range of skills, supplemented by a broader platform of knowl-edge and aptitude in other areas such as business, management, and communications.
It’s one of the reasons why the creative industries has been widening its search across a di-verse talent base, promoting fairness and accessibility to peo-ple of all backgrounds and abil-ities. At Creative Skillset, for example, we are working direct-ly with employers to create ap-prenticeships and quality train-ing provision across a range of job roles, specifically designed around industry needs.
This report outlines the differ-ent routes into the creative in-dustries and underlines the kind of opportunities and support available to potential recruits. If you’re one of them, it could help you get ahead.
For more information and advice visit: creativeskillset.org
This publication was distributed within The Guardian and Mediaplanet take sole responsibility for its content.
CAREERS IN THE CREATIVE INDUSTRY
1ST EDITION, SEPTEMBER 2013
Managing Director: Chris EmbersonEditorial and Production Manager:
Faye GodfreyBusiness Developer: Sara Downes
Responsible for this issueProject Manager: Talia LevinePhone: +44 (0) 7789 936829
E-mail: [email protected]
Contributors:Dinah Caine CBE
David WayJohn WalkerIan AshmanSimon Ward
John MilnJoyce KelsoScott Knox
Mediaplanet contact information: Phone: +44 (0) 203 642 0737
E-mail: [email protected]
EDITOR’S PICK
Page 10Why there is a need for
fresh talent in the British fashion industry
FIND EXCLUSIVE ONLINE CONTENT AT: sites.mediaplanet.com/gb/mp-uk-careers-in-the-creative-industry
Dinah Caine CBECreative Skillset CEO
“The creative industries is a hugely dynamic, exciting and fulfi lling sector, making it a popular choice with learners and job-seekers alike”
@MEDIAPLANETUK#creativecareers
CHALLENGES #creativecareers
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4 · SEPTEMBER 2013 AN INDEPENDENT SUPPLEMENT BY MEDIAPLANET
■ Not so long ago, the ‘tradition-al’ way into the creative industries was through degree-level learning. Yet while a degree may still be es-sential in some cases, it’s no longer the only option for people wanting to work in the creative sector.
InternshipsInternships can be an excellent way to acquire both hands-on skills and a real insight into the industry. Yet an oversupply of people has led some fi rms to view interns as cheap, or even free, labour. That’s why more employers are being encouraged to adopt Creative Skillset’s Creative Industries Work Placement Guide-lines. These recommend paying at least the national minimum wage for graduate interns and limiting the working week of trainees and in-terns to 40 hours.
Hiring interns can be benefi cial to employers and employees alike. For example, Haja Devshi, Senior Strategist at media and communi-cations agency, PHD, says: “one of the key benefi ts to PHD in hiring in-terns is that media is driven by new and fresh ideas. We fi nd that interns
really bring that to the table more than anything.”
ApprenticeshipsApprenticeships are increasingly popular. In fact, new data from re-search company ICM reveals that 54 per cent of young people in England would choose to do an apprentice-ship if one were available.
Apprentices benefi t from a mix of paid on-the-job training and study — while employers benefi t from access to diverse new talent pools.
“It is competitive,” says David Way, former Executive Director, National Apprenticeship Service (NAS). “From an employer’s point of view, they in-vest a lot of time and eff ort in an indi-vidual and want to see skills coming into their company in return — so they’re going to be selective.
“From a young person’s point of view, fi nding an employer who is prepared to invest in you is incredi-bly motivating.”
GraduatesGraduates face rising debt — and, according to a study published last November by the Higher Education
Careers Services Unit (HECSU), more than one in 10 will experience signif-icant spells of unemployment.
Approximately 60 per cent of grad-uates polled agreed that their degree had been good value for money; two-thirds of graduates were optimistic about their long-term career pros-pects and 96 per cent would still do a degree if starting again.
It is, however, vital to choose the degree course which will best equip you for your future creative industry career. To help, Creative Skillset has created the Tick. This is a quality kite-mark indicating industry-approved degrees and apprenticeships.
Graduate careers website, Pros-pects, off ers specialist advice and guidance to graduates looking for employment, and highlights current graduate opportunities by sector.
TraineesCreative Skillset is launching a new trainee scheme, Trainee Finder, to re-cruit the next generation of talent in fi lm, TV, animation, VFX and games.
TONY GREENWAY
Question: What are the best routes into the creative industries?Answer: It depends on the specifi c requirements of the job and what is right for a particular individual — but these can include internships, apprenticeships and degree courses.
Getting started in the creative industries
NEWS #creativecareers
SEPTEMBER 2013 · 5AN INDEPENDENT SUPPLEMENT BY MEDIAPLANET
IN THE NEWSA round-up of the latest stories in creative industry careers and what the growing sector can offer you
Census reveals creative industries as growth sector
The government has recognised that the creative industry is a growth sector and is supporting it with funding for training and learners. Indeed, the 2012 Employment Census recently published by Creative Skillset shows that employment in the creative media industries has grown from 188,150 in 2009 to 192,200 in the last four years — an increase of 2 per cent. Representation of women has also increased to 36 per cent of the total workforce, compared to 27 per cent in 2009.
However, there is a continuing decline of ethnic diversity repre-sentation (just 5.4 per cent of the total workforce); while the proportion of the workforce described by their employers as disabled has remained the same since 2006, at 1 per cent.
“Clearly more needs to be done to encourage a greater diversity in our workforce,” said Dinah Caine CBE, Creative Skillset CEO. “We are working closely with our partners including the Creative Diversity Network to help address the under-representation of Black, Asian and Minority Ethnic people within the creative media industries.”
Higher apprenticeship introduced
Apprenticeships are no longer seen as a ‘second option’ to university. Underlining this is the introduc-tion of the fi rst level 6 higher appren-ticeship for the creative industries which has been developed by Crea-tive Skillset in collaboration with the BBC, Channel 4 and the Universities of Salford and Birmingham City. The Higher Apprenticeship in Broadcast Technology will provide training at a level equivalent to a university de-gree and help to combat the skills shortage in the broadcast and tech-nology sector.
“Not only is it the fi rst Level 6 Apprenticeship for the creative indus-tries, it is also the fi rst programme of its kind to be developed in associationwith higher education providers work-ing together with a major employer,”says Saint John Walker, Head of Development at Creative Skillset.
What will this year’s A-levels mean for the creative industries of tomorrow?
Recent A-level results revealed the number of people sitting maths and sciences was up, but there was a real reduction in arts and media subjects.
It is great news for the games, VFX, TV and publishing industries which have all bemoaned a shortage of programmers and coders. But the number of young people sitting media studies has dropped 9 per cent; communication studies reduced by 17 per cent; art and design suff ered a 5 per cent loss; and design and technol-ogy was down almost 9 per cent.
Whilst these subjects may not be rigorous in some people’s eyes, they are the gateway to further universi-ty study and thus the fi rst step on the escalator to creative jobs. Unintendedconsequences could be that crea-tive university courses wither or close, and this truncates the start-up culture which this government is banking on for growth.
#creativecareers
6 · SEPTEMBER 2013 AN INDEPENDENT SUPPLEMENT BY MEDIAPLANET
INSPIRATION
Game of Thrones: cast of thousandsQuestion: How many creative industry jobs are involved in the production and distribution of this image from TV’s Game of Thrones?Answer: The list goes on, and includes make-up artists, set designers, camera operators, editors, marketing experts and journalists. This is the creative industry story behind just one picture…
Technical textiles
Production
Post production
The costumes are made from fabrics which were provided by technical textiles designers who process yarns and fi bres, dye and fi nish yarns and manufacture textile articles. National Vocational Qualifi cations (NVQs), apprenticeships and university courses are available for anyone interested in this area.
There are, literally, hundreds of jobs in fi lm and TV production — just look at the end credits of Game of Thrones to see the number of people in the crew. This includes everything from hair and make-up and set design, through to grips, runners, carpenters, electricians — and a unit stills photographer (who took the image on location in Northern Ireland).
This can include editors, VFX (visual eff ects) artists and animators who work closely with the director after fi lming. Would-be editors can enrol on apprentice-style schemes working with professional crews, combined with training, or study fi lm production on under-grad and post-grad courses. Internships and university courses in VFX and animation are available.
#creativecareers
SEPTEMBER 2013 · 7AN INDEPENDENT SUPPLEMENT BY MEDIAPLANET
Advertising, marketing and communications
Fashion and textiles
Journalism
Distribution
Photo: Jack Gleeson as Joffrey Baratheon, and Sophie Turner as Sansa StarkPhoto credit: Helen Sloan / HBO
When it’s fi nished, the series needs to be launched into the widest-possible marketplace. Distributors may have degrees or qualifi cations in business, marketing, publicity, sales, administration and fi nance.
The image then goes to an advertising agency where a campaign is designed to maximise publicity for the series’ release. Entry routes into advertising include university degrees or the new apprenticeship in Advertising and Marketing Communications.
The costume designer works alongside the artistic director to design the costumes. Many universities run courses on art and design and fashion, while apprenticeships off er a mix of study and hands-on experience. Fashion and textiles roles also include production of leather goods such as saddles, bridles and of course footwear. This sector also incorporates roles that involve the treatment and care of all of the materials.
Creative Skillset off er information on the options available within fashion and textiles and all sectors across the creative industries. Visit http://www.creativeskillset.org/careers/ to fi nd out more.
Journalists across a variety of media will be given the image (by the communications team, who are often journalists themselves) in order to publicise the series. Entry routes into journalism include apprenticeships, university degrees, accredited courses and, occasionally, direct entry onto newspaper training courses.
#creativecareers
8 · SEPTEMBER 2013 AN INDEPENDENT SUPPLEMENT BY MEDIAPLANET
The media industry has changed in recent years. A ‘job in media’ used to mean working at a newspaper or magazine, or having a role in TV or radio (either front and centre or behind-the-scenes) or marketing and communications.
Those traditional careers remain, but now digital technologies have changed the defi nition of ‘media’. They have also revolutionised the way that media content is shared and used by audiences. As a result, the number of opportunities in
the industry has expanded to include, for example, interactive media, which is used across all sectors of the industry generally.
Jobs in interactive media include designers, developers, web coordinators, project managers, production assistants, producers and studio managers; while employers include new media companies who create varied content across a range of diff erent digital platforms.
Your options are endlessApprenticeships for talented and enthusiastic people now offer a different way in. Crucially, it’s one that pays while you train. “I remember talking to a number of film producers in a meeting,” says David Way, former Executive Director, National Apprenticeship Service. “They had so many people who were prepared to work for free. But, of course, not everyone can aff ord to do that. So an apprenticeship says to a young person ‘We’ll pay you, invest in you and build a long term relationship with you.’”
For example, an Advanced Apprenticeship in Creative and Digital Media can include work as a
production runner or a production assistant; an assistant to the camera crew; an editing assistant; or a role as a production secretary. It can be tailored with employers to combine options including production, editing, interactive media, audiovisual journalism, camerawork, set design and photo imaging.
An apprentice operates at the sharp end of the business — and it’s this hands-on element that diff erentiates it from pure class-based learning. In the world of media, where a broad range of skills is an advantage, this can be particularly benefi cial. “Every apprenticeship varies,” says Way. “But the essence is that you learn the theory and also have a chance to put it into practice.”
Apprenticeships and other training programmes are avail-able in England, Scotland, Wales and Northern Ireland. For exam-ple, Game of Thrones is fi lmed in Northern Ireland and cur-rently has trainees working on the production.
TONY GREENWAY
David WayFormer Executive Director, National Apprenticeship Service
Over the last few years, HackneyCommunity College, an FE college based in East London, has witnessed a technology boom right on its doorstep.
This is Tech City, Europe’s fast-est-growing tech cluster, which includes a mix of start-ups, small to medium businesses and glob-al players such as Google, Cisco, Facebook, Microsoft and Amazon.
“Over the last three years, around 30,000 jobs have been created in Hackney and a lot of them have been tech-based,” says Ian Ashman, Principal of Hackney Community College.
Ashman talked to key Tech City companies and discovered that many technology companies wanted to grow their own talent rather than simply recruit gradu-ates, yet they were fi nding it hard to locate people with the right skills.
So, a year ago — after working closely with Tech City fi rms such as Mother, Moo, Poke and Lean Mean Fighting Machine — Hackney Community College launched the Tech City Apprenticeship, giving local young people the chance to earn and learn with top technology businesses. This September sees the launch of the higher level Tech City Apprenticeship, an 18-month programme (equal to first year university) that, again, has been developed directly with Tech City employers.
“Between us we worked out the kind of skills Tech City companies actually need,” says Ashman. “And we’ve found that young local peo-ple with talent and enthusiasm are every bit as good as graduates.”
INSPIRATION
The changing face of the media industry
■ Question: What have changes in the media industry meant for people who want to work in it?
■ Answer: More opportunities are opening up, particularly with the growth of digital technologies.
■ Question: What happens when industry and employers are closely involved with the design of apprenticeships?
■ Answer: They fi nd talented people with the skills they need, as Tech City Apprenticeships demonstrate.
TONY GREENWAY
Tech City fi rms on the lookout for fresh talent
#creativecareers
PHOTO: BBC
SEPTEMBER 2013 · 9AN INDEPENDENT SUPPLEMENT BY MEDIAPLANET
As a publisher-broadcaster with a remit to nurture talent, Channel 4 has a unique role in supporting emerging and established creative talent, both amongst its own employees and across the wider industry. This includes our own award-winning internal programmes run through 4Talent. Wherever you want to be in our industry, we have a diverse range of opportunities to suit all interests. We’re not just talking about the high profile On-screen programmes — there’s all the vital behind the scenes areas too — like production, creative and commercial not to mention new media, advertising, press, marketing, commissioning, HR, finance and more.
Talent can be anywhere, that’s why we take our 4Talent Days across the UK. As part of Channel 4’s commitment to social mobility, and recognising that the creative industries as a whole remain un-der-representative of some social
groups, in 2012 4Talent set out to widen the groups of young peo-ple it was reaching. Last year they visited 10 cities including Derry, Barnsley, Penzance and Dundee. This year they have already been to York, Falmouth, Llandudno, Sunderland, Lincoln, London and Wigan and later this year will be going to the following locations: Glasgow, Great Yarmouth, Derry, and Southampton. These days are packed with creative workshops lead by industry professionals, so new talent can try their hand at digital film-making, creative writing, presenting, journalism, and stand-up comedy — whatev-er takes their creative fancy. And when they shine, we’re there to spot them.
Through our all our 4Talent Days, talks and workshops, we ex-plain all the routes into the indus-try and breakdown what employ-ers are looking for. From here we sign-post our 4Talent-ers to op-portunities across the sector, as well as to our own work experi-ence Programme, Internship and apprenticeships programme, Pro-duction training Programme and more recently Open 4 which is a
place for people to get direct on-line media training, access exclu-sive media bootcamps and paid placements at independent pro-duction companies.
Priscilla Baffour, Channel 4’s Industry Talent Specialist said: “At Channel 4 we know that good ideas can come from anywhere and so our work is designed to connect new talent with one an-other and local creative indus-tries across the UK. Because as a broadcaster, we know that it is through these grass-roots crea-tive collaborations that true in-novation can happen.”
It’s essential that the media in-dustry reflects the diversity and fresh perspectives of a modern UK. So we go beyond the tradition-al relationships with Media Acad-emies and work with colleges, charities community groups and Youth organisations to access new talent from all walks of life and all corners of the UK.
Diane Herbert, Channel 4’s Di-rector of Human Resources said: “Our Initiatives help build careers for people passionate about work-ing in the media industry regard-less of experience or background.
We’re incredibly focused on offer-ing opportunities for people at dif-ferent stages of their career, from all walks of life and truly reflect-ing the diversity of today’s Britain within Channel 4.”
For more information on 4Talent go to www.4talent.channel4.com or for live opportunities follow the team on Twitter @4Talent.
Diverse opportunities in broadcasting
PHOTOS: SHUTTERSTOCK
COMMERCIAL FEATURE
10 · SEPTEMBER 2013 AN INDEPENDENT SUPPLEMENT BY MEDIAPLANET
“When people think of advertising they think of creatives and account handlers in suits, like Mad Men’s Don Draper,” says Joyce Kelso, Acting Groups Manager of IPA, the professional body for advertising, media and marketing communications agencies in the UK. “They don’t always realise the different disciplines and career paths that people can take within advertising or communications.”
The industry is currently going through an exciting period of change, says Kelso. “With the emergence of digital we’re often looking for people who would never have considered advertising in the past: mathematicians, statisticians, computer scientists, engineers and behavioural scientists, for example.”
Traditionally, a popular route into
advertising has been through uni-versity; but other options are avail-able. For example, Jamie Mead, 19, is on a Level 4 Apprenticeship in Advertising Marketing and Com-munications with communications group Bray Leino. “The combination of hands-on experience and learningis really interesting,” says Mead, “because I’m putting the skills I’m being taught into practice in the real working world.”
The IPA and the Marketing Agen-cies Association (MAA) have been working together on initiatives to attract top talent into the sector.
“The industry is genuinely di-versifying and looking for people from everywhere,” says Scott Knox, Managing Director of the MAA.
One thing that hasn’t changed, however, is that would-be entrants still have to demonstrate passion and commitment. “What have you read? What creative really inspires you?” asks Knox, “Are you someone who is part of the creative world which includes, art, architecture, music and literature? People like that — who have minds like sponges for the creative world in its broadest sense — are the kind of people we want.”
The UK fashion and textiles industry is on a high at present with demand for British products soaring — but an injection of new young talent is needed for this growth to continue.
The Fashion and Textiles Group Training Association (F&T GTA), launched earlier this year, hopes to help by promoting apprenticeships to employers and young people. Companies on board include New Look, ASOS, Mulberry, Dr. Martens and Camira.
The British Fashion Council (BFC) backs the programme. “The repu-tation of British designers is at an all-time high,” says Simon Ward, COO of the BFC, “and there is a growing desire for UK-based high quality production and technicalsupport. The BFC welcomes the strengthening of the UK manufac-turing capacity that the F&T GTA initiative will help to foster.”
The UK Fashion and Textile As-sociation (UKFT) also supports the new F&T GTA initiative. Its CEO,
John Miln, says that the broadest level of experience possible will help new recruits progress in the sector. “Being specific with one talent may get you a long way,” he says. “But better candidates are the ones with broader-based experience and rounded skills, purely because that’s what employers and the market are looking for. You have to have a knowl-edge and understanding of the mar-ket, who your competitors are, where opportunities exist and what fashion infl uences — as well as what is going to be the hem length for spring 2015.”
Iesha Wilson is proof that fashion apprenticeships work. She completed her Level 3 Apprenticeshipin Fashion and Textiles in July and was headhunted during the programme. Still, she admits it was a challenging 19 months, “I have learnt so much,” she says. “I would recommend the apprenticeship to anyone but don’t think it’s an easy option. It’s like everything else in life: you get out what you put in.”
TONY GREENWAY
PROMOTING A PASSION
FOR FASHION
NEWS
Diff erent strands of the British fashion industry are joining together to attract young
people into employment.
The REAL mad men — and womenAdvertising isn’t just about creatives in suits.
The industry now off ers roles across a range of disciplines.
TONY GREENWAY
Joyce KelsoActing Groups Manager, Institute of Practitioners in Advertising(IPA)
#creativecareers
APPRENTICES AT FASHION ENTER. PHOTO: ADAM LAWRENCE
PHOTO: CADBURY ADVERTISEMENT. AGENCY: FALLON
SEPTEMBER 2013 · 11AN INDEPENDENT SUPPLEMENT BY MEDIAPLANET
Hello, we’re D&AD — a global membership organisation that inspires, educates and awards creative talent worldwide. Supporting people at every stage of their career, D&AD is the backbone to a trailblazing and innovative industry.
Discovering and nurturing new creative talent is at the heart of what we do. And as a not-for-profit organisation, all revenue is reinvested to help us discover and support the creative super-stars of tomorrow.
For new creatives, it’s now harder than ever to reach a dream job. Hundreds of thousands of students graduate every year, but there are diminishing numbers of entry-level jobs. Unpaid place-ments are rife, and sometimes it’s not what you know — but who.
With our New Blood pro-gramme, we’re increasing the
number of opportunities availa-ble by offering initiatives to new creatives worldwide; providing them with insights, training and those all important first-breaks.
At the heart of the programme is the New Blood Awards. For al-most 40 years we have worked with brands to set annual creative challenges for students and grad-uates. For higher education insti-tutions around the world, the New Blood briefs provide valuable re-source and insight for students and tutors, and as such, are em-bedded into many curriculums.
This year, for the first time, we’re opening up entries to any-one aged 24 or under, regardless of whether they’re in formal edu-cation or not.Covering all aspects of commercial communication and design, the briefs are indus-try standard, giving new creatives their first taste of professional life.
Recent challenges have includ-ed digital design with the BBC,
branding with Nissan, photog-raphy briefs set by Rankin, and a look at social change with Uni-lever. Whether a real business problem, an area of exploration or simply a bit of left-field brand thinking, every challenge is in-novative and original.
Entry is open for six months, providing participants with enough time to sink their teeth into their chosen challenge. We take judging seriously and up-hold the same principles from our Professional Awards: an inde-pendent panel, blind judging and complete impartiality – ensuring the integrity of our programme, students and brands is upheld.
We top off a year of learning with a ceremony, exhibition and the opportunity for participating brands to put winning work into production. Finally, we usher off our most talented entrants to the New Blood Academy — an indus-try-led creative bootcamp that
will polish these rough diamonds into creative superstars.
The Academy is a two-week unique and intense programme that builds on our 50-year history of connecting education with industry. Designed to prepare a relevant, conscious and skilled creative workforce, attendees are asked to leave their student status at the door, working on live industry briefs from companies such as Diageo, Google and Kickstarter. It’s a space to broaden horizons, reveal options, initiate conversation and inspire creativity.
The Academy alumni have gone on to find work in the creative industries worldwide. Many converting placements at agencies and brands into full time positions.
To find out more about D&AD and our New Blood programme, visit dandad.org/newbloodawards
Inspiring and rewarding creative talent
FIND YOUR DREAM JOBD&AD’s New Blood programme offers opportunities to those looking to get into the creative industry, providing them with training and work experience PHOTO: D&AD
COMMERCIAL FEATURE
SCAN TO FIND OUT MORE
Be the best.Choose the best.Pick the Tick.The Creative Skillset Tick is the industry quality mark for professional short courses, apprenticeships and higher education courses across the UK.
To see the courses and fi nd out more visit:www.creativeskillset.org/thebest
Follow us on:
Pick the Tick
@SkillsetSSC
