The Jacky Winter Group represents the best commercial talent in the contemporary applied arts.
A new breed of imagemakers, from art directors and 3D artists to stylists and set builders.
The Jacky Winter Group: Special Projects Unit. From Live-Action events and conferences to freelance curating or art buying, this is where our production expertise allows us to take on weird and wonderful projects of any shape and size. Coming soon.
We have been blazing trails in the contemporary commercial art world since 2007. With over 100 genius image-makers and production powerhouses on the country's largest roster, and a bunch of awards in the cabinet, we know that our work, our people and our networks are the best. No argument.
We are the matchmaker, the agent, the producer and the coach. We provide exactly the right talent for every job, and we support the artists, in every way, to produce the best work possible for the broadest range of clients, locally and internationally.
Our wings are dedicated to the particular needs of particular disciplines, providing the right resources for any challenge. We work on hundreds of projects every year, and our rigorous devotion to process gets results. We've got that whole "making crazy good things happen" thing down, you know?
We're proud of our work, we're proud of our artists, and we're proud of the things we've helped bring into the world.
And we're named after a native Australian robin, if you were wondering. A pretty adorable one.
In addition to representing some of the best artists, we also think the people we hire are pretty amazing as well.
Our team is not just a gathering of individuals. It is a diverse brains trust which has managed over a thousand briefs in over five decades of collective experience. We believe that creative businesses need to be run by creative people, and that's just what we are.
Staff Photography by Emma Phillips
Jeremy is the director of The Jacky Winter Group and manages the foundations of every resource an artist and client could possibly need. Jeremy acts as a public ambassador for the agency, and always seeks to raise the profile of our represented artists through a variety of personal and professional events and projects. Born in New York, Jeremy Wortsman began his career in editorial design – as the guy who did the assigning of illustration. After a short stint in Sydney living in a very bizarre share house, he relocated to Melbourne in 2001. While working a series of odd jobs, such as retouching photos of dog food and dishwashing (he lasted six hours), Jeremy co-founded and designed Is Not Magazine. Together with Is Not collaborator and friend Stuart Geddes, he started the design practice Chase&Galley, before moving on to establish The Jacky Winter Group.
Sarah Ewing is the director of SEA and manages our photography roster. After studying photography at RMIT, she spent the next five years working in London’s photographic industry, where she developed her own working style and an eye for the type of photography she felt strongly about representing. Sarah’s concept was to a create an agency capable of supporting artists through a collaborative approach. As SEA begins its third year, the agency proudly represents an Australian ‘Onshore’ and an international ‘Offshore’ roster of incredibly talented artists specialising in a diverse range of styles. Sarah has a huge admiration for photographers and it is with great pleasure and satisfaction that she works closely with them.
Fushia joined The Jacky Winter Group in 2010. In a previous life, she studied Visual Communication at Monash, which is perhaps where she picked up the mild OCD strain that sparked her love of creative project management. Fushia’s favourite part of her job is the gooey match-making; it brings her immense satisfaction to find the perfect match between clients and artists. She spends her days chatting to clients and artists on the phone, finding the best artist for each unique job, crunching numbers, patting Levi, creating the perfect timeline, and, most importantly, making sure that everyone is happy. Give us a call and, we swear, you’ll hear her smile over the phone. She holds the world record in timely email responses[1].
[1] Source: Jacky Winter Book of Very Official World Records
Monica figured out the quickest way to our hearts when she arrived in early 2011, bearing a basket of baked goods under her arms. We put her to work wrestling with a promo that (quite literally) bit back, and she’s been with us ever since. Monica studied Communication Design at RMIT and has worked as a graphic designer. When she’s not multi-tasking like a boss for The Jacky Winter Group, she’s working on her Masters in Arts and Cultural Management. Fueled by a constant stream of tea, she’ll blog, tweet, post, chat, charm, file, design, upload, unload, chase-up, email and exhale, all with a smile on her dial.
Charlotte burst onto the Jacky Winter scene in late 2011, earning her stripes as the manager of Lamington Drive’s temporary Chadstone gallery space. After studying Fine Art Painting at Monash University, Charlotte launched into a career consisting of pretty much every creative production role imaginable. After a stint in New York making piñatas with Confetti System and sand drawings with Part and Parcel, she headed home to freelance for a number of superstars, including Gloss Creative. She works across all areas of the agency and currently holds the highly coveted title of iTunes playlist overlord.
Bianca joined The Jacky Winter (doo-wop) Group in mid 2012, but it feels as if she’s always been a part of the band. Prior to her big move she worked for five solid years as a commercial animation producer and studio manager at XYZ Studios in Melbourne, helping the studio grow from representing one founding director to eight animation directors worldwide. A self-confessed musical theatre nerd, Bianca can often be found harmonising along to the office iTunes playlist while doing what she loves most: helping artists and clients achieve the impossible dream. Bianca also happens to be the proud owner of a kick-ass reference from a client at Interbrand: “Bianca, like Vishnu, has many arms. Except, instead of using them for quiet reflection or staying out of things, she uses them to juggle and balance deadlines, deliverables and creative egos. I’ve personally assailed her with unrealistic requests and bullshit requirements, and in return she’s made me look like a total hero.” Enough said—this woman is a pro.
The face and voice of our home at The Compound Interest in Collingwood and the manager of Lamington Drive. Simone brings together her education in industrial design with her love for contemporary art in a picture-perfect package. Simone works closely with each artist exhibiting in our gallery space or utilising our fine-art printing services, and generally ensures that our operation is running smoother than a Swiss watch.
As Director of Flutter and 21-19, Dom Bartolo has been the creative force behind many television brands in Europe and Australia, successfully branding channels such as VH2, MTV Brand New, TV1, Max, Lifestyle, Smash Hits, Kerang, Disney XD, Discovery, ABC, Fox Sports, and The Comedy Channel. 21-19’s extensive team boasts experience across a broad range of disciplines and they are uniquely positioned to build strong brand stories that can be translated across a range of visual media, partnering the latest technology with experience and expertise. Dom’s contagious energy and boundless enthusiasm for the medium inspires everybody who comes into contact with him.
Levi is our resident Italian Greyhound. He’s currently undergoing training to hand-deliver all Jacky Winter invoices using his actual dog hands. When he is not busy learning how to grasp and manipulate objects with his paws or bark the words ‘I love you’ and ‘Freemasons run the country’, you can find him curled up asleep, aka working on his bundt cake impression. Levi exclusively wears Best In Park and Julia deVille.
The Jacky Winter Group has a very informal work experience/internship program that runs year round, and is always on the lookout for hard working individuals with a passion for the applied arts or creative management. While we can’t guarantee the most thrilling work on the planet, you might learn a thing or two and gain school credit. Work experience positions will be posted on the blog, email newsletter, twitter, and via raven from King’s Landing.
Photograph by Nick Tupin
Jacky Winter is currently not hiring, however that might change in a few weeks. Any and all job openings are advertised primarily on our Blog, as well as our social media channels such as Twitter, Facebook, and Instagram, and require the top three candidates to brawl to the death in a flaming metal sphere. Sorry, it's company policy.
Do good work. Do it with the best people. Deliver it on time. Be easy to get along with. Have fun. It sounds simple, but it’s a fine art to master.
To do good work, you have to get good briefs. To get good briefs, you have to have done good work. It’s a bit of a Catch-22, but fortunately we have firmly established our reputation in the industry as being the go-to people who get things done, regardless of the medium or execution. Don’t just take our word for it: the proof is in the pudding (the pudding being our blog, portfolios, and the word of mouth of our clients and artists).
While we started out as an illustration agency, the Jacky Winter Group today is a much broader operation with a focus on image-making in all of its guises. This allows us to look at briefs from all sorts of different perspectives and create many more opportunities our artists.
Like a delicate snowflake, no two jobs (or artists!) are ever alike, and there is no one-size-fits-all approach to the work we take on. That said, we can walk you through some of the more common steps to give you an idea of what to expect from working with us and our artists, whether your deadline is tomorrow morning or next month.
Find an artist or send us a brief
We are in close contact with all our artists, and can usually let you know their availability immediately. You can also view their most recent status here on the site.
Our newly revamped artist pages have been specifically designed to showcase a wide spectrum of visual output for each artist. While many have their signature style and specialties, there is also a huge diversity in aesthetic that our artists can achieve; if you can’t find what you’re looking for in our online or print folios, please get in touch—we have much more out back in our virtual stockroom.
Get a quote
Detailed information on how we cost jobs can be found here. For advertising and design work, depending on the level of information provided, comprehensive estimates that include full production timelines, revision schedules, and cost breakdowns can often be turned around within the hour.
Meet us at Basecamp
Once an estimate is approved and returned, you (and anyone else working on the job) will be set up on our online collaboration system, Basecamp, where you and the artist have a direct connection as well as a dedicated space to cooperate on your work. Sketches, feedback, final art and anything else related to the job will take place here.
We use Basecamp to keep everything related to the job in one place. It’s far superior to email when it comes to project-related discussions, keeps everyone on the same page, and allows us to ensure that everything runs to everybody’s expectations.
Roughs
After the artist is fully briefed – either via Basecamp, on the phone, or in a personal meeting – they will begin to work on rough sketches.
Each artist approaches the rough stage differently. For editorial work, some like to type ideas out before they put pen to paper, and then go to a very detailed sketch. Some artists do a series of very rough pencils which turn into very polished final art, and some like to get straight into it.
In any situation, you should look to the artist’s portfolio of finished work to set your expectations for how the final art will emerge from this conceptual shell.
Sketch approval and revisions
After a sketch is approved, the artist will usually go on to make a tighter, more developed sketch. At each stage of work, there are a number of allowable revisions which are set out in the original estimate. The tighter the deadline and budget, the less revisions available. Revisions in excess of those set will incur additional fees, and may not always be possible within the timeframe. It is therefore essential that all parties involved in the approval process see the work at every stage to ensure that all expectations are being met.
Proceed to final art
When everyone is satisfied with the tight sketch, the green light will be given to go to final art. Once final art is supplied, no more bets! (In some cases minor tweaks can be made). Final art is supplied digitally – either on Basecamp, a file transfer service, or FTP.
Show us the money
When everyone is happy, an invoice will be raised and emailed to you which acts as your license. Please note that usage rights are not transferred until an invoice is settled. We are very much aware of the small gnome who haunts offices and hides our invoices and odd socks in a shallow burrow, and are working day and night on his extermination.
Discuss our photographers or send us a brief
We love talking about photography! We work closely with all our photographers so we know what they're working on and when they are available to work for you.
Our newly revamped artist pages have been specifically designed to showcase the best of their signature style and specialties. There is a huge diversity in aesthetic that our onshore and offshore rosters are able to achieve, so if you can’t find what you’re looking for in our online or print folios, please get in touch as we have much more out back in our virtual stockroom.
Receive a quote
Detailed information on how we cost jobs can be found here. Once we've discussed your brief, we'll put an estimate together that will show you how we will complete the job and all the costs involved.
Our photographers will often chime in here too and share their approach to the proposed idea. They will also supply an image or written treatment if requested.
Production process
We are a fully serviced production company and manage every aspect of shoot production and coordination from beginning to end and anything in-between. We work with a network of professionals across the globe to support our photographers and clients in their commercial projects. Once an estimate is approved and the photographer is fully briefed – either on the phone or in a personal meeting – the fun begins!
We believe in a 'make it work' approach and will handle all your job requirements from studio and equipment hire, location scouting and management, catering and sourcing talent to name a few. We have a branch, The Twitchery, which focuses on production and behind the scenes talent, representing crew and digital craftsman, so depending on the brief, we may introduce you to some of our team here. We like to think of ourselves as a creative translator - we work alongside you and the photographer throughout this process to ensure everyone has exactly what they need to complete the job.
The shoot
It's most likely someone from your side will be present on the shoot working alongside our photographer and crew. We're there too, even if you can't see us! We oversea all our shoot schedules and will tell you exactly what's happening, where it's happening and when. We are proud to say that our photographers are simply lovely and at their happiest when they are creating images. We are certain you will enjoy yourself on one of our shoots.
Editing and proofing
After the shoot, the photographer will edit the shots and prepare a selection for you meeting the expectations set in the briefing stages. From here you will make your final selections. Depending on the requirements on the brief, there may also be a series retouching proofs to sign off before the final artwork is complete.
Final artwork
When everyone is satisfied with the image selections the green light will be given to go to final art. Once final art is supplied, no more bets! (In some cases minor tweaks can be made). Final art is supplied digitally – either on file transfer service or FTP.
Show us the money!
When everyone is happy, an invoice will be raised and emailed to you which acts as your license. Please note that usage rights are not transferred until an invoice is settled. We are very much aware of the small gnome who haunts offices and hides our invoices and odd socks in a shallow burrow, and are working day and night on his extermination.
It's easy to put your favourite Jacky Winter artist in motion with Flutter. Flutter is the animation house which combines the vast array of artistic genius from within the ranks of The Jacky Winter Group with the Emmy-winning design and direction talents of motion graphics and animation specialists 21-19.
Rather than representing a subsection of animation directors with their own distinct style, Flutter puts the 100-strong Jacky Winter family of artists at your fingertips, enabling you to bring any Jacky Winter artist to life. We offer a total animation production service for traditional Broadcast Television, Film, and Digital platforms.
Once you have selected an artist or artists who match your desired aesthetic or concept for your animation, we are then able to implement a streamlined production process to fully realise your vision.
Our moving image projects are broken into two distinct stages. Stage 1 involves Concept Design and Story boarding and Stage 2 involves the Direction & Production of the project.
Stage 1 - Concept Design & Storyboarding
This is a crucial stage in the projects development, culminating with the creation, presentation and approval of storyboard art. Beginning with the development of rough-sketch storyboard layouts, we develop scripts into a set of key frames which mark the critical moments in our film's story. Once our rough storyboards are approved, we then commence translating them into highly detailed story boards and written creative treatments.
Our story boards are picture perfect, in the sense that what you see is what you get. They are like architectural blueprints - they let everyone involved on the project know what to expect. Once they are approved, it’s a simple matter of getting the builders in and laying the bricks.
We find that this is the most efficient way to work - and helps keep projects on time and on budget. We never progress to the next stage until we have reached an approval and sign off.
Stage 2 - Direction & Production
We take our approved creative written treatment and our approved detailed storyboards and commence working on the production.
Once in production we often find that we don't need to alter the approved sequence of shots presented in the storyboard or the art direction. Again, the purpose of our highly detailed storyboards from Stage 1 is that they are a perfect indication of what the film will look like and how it will flow. Everyone works to them, and there are no surprises.
As with any project, we always tailor our production schedule to include key presentation milestones, so that all stakeholders are able to witness the production's development, provide feedback and maintain the integrity of the final work.
WIP's
We are open to our clients attending WIP presentations in studio, however with Animation Production we don't typically operate under a facility mentality. We do not have online edit 'suites' where work can be observed like they would with a live action TVC. The animation process is labour intensive and sometimes a small change will take more time than you think, and may be spread out over multiple workstations. Most changes are incorporated into a workflow that can take a full day to turn around.
The Handover
When everything's done, your work will be delivered in the format you need, be it broadcast or web quality or whatever. We'll hand it over to you via digital delivery, or on a shiny gold USB if it will make you happy. Which it will, won't it?
Immortality Projects is The Jacky Winter Group: Special Projects Unit.
While the bread and butter of our agency is in traditional fields such as illustration, photography, and animation, some of our favourite work comes about when a client approaches us with a weird and wonderful challenge, be it a new medium or a ridiculously difficult brief.
Whether it's curating and producing a charity art exhibition, doing live conceptual drawing in a boardroom, engaging a hard to reach overseas artist, or finding out who can build and paint a 10-metre-high model made of porridge, we have the contacts, imagination and production expertise to bring any project of any ambition short of Bond villain to fruition.
We are in the middle of documenting and formalising our work in the Immortality Projects, where the process and our expertise will be displayed in more detail. But that doesn't mean you have to wait to bend our brains - if we haven't written it down yet, that just means we're waiting for your challenge. Get in touch!
While the infamous Jacky Winter Wheel of Quoting never made it past the prototype stage, and we often jest over the dark art of costing original creative content, it is more straightforward than you think. We aim to work with a system that gives a logical breakdown to our costings.
We supply our costing as estimates; although these are highly accurate, if the brief or usage changes, so must the estimate. Our sixth sense often lets us see this coming, but our estimate can only be as accurate as the information we are given.
If you haven’t commissioned an artist before, or are interested in how to get the most accurate quote possible, just drop us a line. We can run you through all the required information that we need to provide the most appropriate cost.
While each aspect of our agency has different particulars in regards to establishing costs, here’s a general idea how it breaks down:
This is the time it takes to create the artwork you need. Every artist has a day rate, and once we have reviewed your requirements we will supply you with an estimated creation time. We will only ever revise the creation cost if further work is required once we have sent you an estimate, or if excess revisions are required post estimate sign-off. The creation fee makes up the Base Usage Rate (BUR) of which usage fees are applied as a percentage.
All artist’s work needs to be licensed for usage. This is really important for a professional illustrator’s income and is part of the agreement we have made with them, as well as the charter of the professional societies of which we are a member. The overall price of a commission is not affected by how difficult the work is to execute, but rather a combination of creation and usage fees. The more an image is used, the greater value it has. The more an image is worth, the more it costs.
We have tried to answer in more depth commonly asked questions about licensing in our Client FAQ here, but in brief the cost for usage licensing is based on the following:
This is the particular medium that the work is going to be used in. Is it going to be in a local magazine or a global ad campaign? Are 100 people going to see it or 100,000?
For advertising, we work with four main areas of usage:
Above the Line: This covers paid advertising space, billboards, print campaigns. Below the Line: Unpaid space, point of sale, direct marketing. Broadcast: TV and cinema. Online: This is a new fad you may have heard of. Work such as storyboarding, ambient media, or paid pitch/research work usually have their own usage terms specific to the output. For editorial work, we have our house usage conditions, but in most cases will defer to a publication's set usage policy unless amendments need to be made.
Where in the world will the work be seen? The more people who’ll see it, the higher the usage fee.
The longer the work is used, the more people will see it, so this will mean a higher fee… do you see a pattern emerging?
We work very closely to our standard process of costing, but of course the profile of the client may effect costs. More often than not this is because the higher profile the client, the higher the exposure of the work.
It tends to fly that the higher reputation of the talent, the busier they are. So if we need them to start work at 3am they need to be paid accordingly.
Expenses are dependent on the requirements of the brief, and can vary widely, especially for photography and animation. Illustration isn't so bad, but if you need to fly our dude and their entourage around the world, they’ll need a hotel. We will, of course, flag this and all other expenses quired with you immediately, at the beginning of a brief.
While an increasing amount of work is only seen and displayed on screen, the place where our artists really shine is on the printed page.
As fellow creatives we strive to produce promotional material which rises above impersonal e-newsletters and postcard mail shots by crafting one of a kind objects and books. These reflect the care and love that all JW staff and artists put into their work. Also, postage from australia isn’t cheap, so we like to make it count!
Each year we produce our annual field guide and post it out to a select number of existing and prospective clients. As an homage to the Jacky Winter robin, every field guide is based on an actual vintage bird guide. If you are in the business of commissioning artwork and would like a current field guide, or to go on the list to receive the next one, please drop us a line!
Based on the original ‘Common City Birds’ by Graeme Chapman, our first field guide included a hand-made slipcover and paper-frame, allowing for the easy display of any postcard-thick page of the guide, which was easily removable from the pad-bound book.
A small collection of 22 ex-libris stickers for our first batch of special clients. Mailed in a hand-letterpressed envelope featuring custom artwork by Dylan Martorell.
Our most exhausting effort, never to be repeated. Based on the 1950’s novelty card game ‘Mix-ups’, each Jacky Winter artist created their own ‘Mixie’ character in three parts, allowing for endless art direction at your leisure. The rear of each deck featured a custom flip-book animation from our more motion-savvy artists. Accompanying all this was the actual field guide, inspired by the endlessly entertaining ‘Enjoy Your Parrot’ book from the ‘Pet Library’ series. Printed on cast-coated stock, and hand bound with something called a ‘Crop-a-dile’, this field guide featured many hidden Easter eggs, mostly from the TV series LOST. The whole package shipped in a custom box designed by Lachlan Conn.
Produced in part for our Annual road show to the AI/AP party, these business card-sized pieces contained a retractable 2GB micro-USB disk containing PDF samples of all JW artists. Pattern designed by the one and only Karl Maier of Craig and Karl.
In our attempt to go more lightweight, we looked to newsprint. Using The Hamlyn Guide to Birds of Britain and Europe as inspiration, Biddy Maroney and Sonny Day of webuyyourkids took an entirely different spin on the traditional field guide scene. If you look closely, you’ll see Jeremy’s old Saab being set on fire. For some reason, this scene was omitted from the original edition in 1972.
Our most exciting and lavish field guide yet! Inspired by the classic ‘A Field Guide to The Birds’ writted by Roger Tory Peterson in 1934. This 144-page, gold foiled, hardcover book ships in a custom pattern printed box, and sports red gilded edges, a fluoro green bookmark, green and gold head/tail bands, and fluoro pink endpapers. Produced in very limited editions!
Based on the simple novelty prank where a twisted rubber band spins a metal washer to startle an unsuspecting viewer, we rebranded the item and send it out to over 2000 creatives for a nice little afternoon surprise. Surprisingly, we were only threatened by one lawsuit.
With a front and back cover designed by the incredible Timba Smits, this glossy retro lad’s mag even featured a pull-out centerfold designed by Heath Killen.
The CMYK colour space could not contain our excitement for the launch of our Animation wing, Flutter. To celebrate the occasion, hundreds of gold USB keys were forged in honour of the occasion, each one containing our inaugural showreel.
This handy softcover tome is currently in circulation and is one of our most comprehensive guides to date, at over 200 pages. Inspired by the original Golden Guide published in 1987 and featuring original artwork by JW's own Tom Simpson, this guide not only shows you JW's best and brightest, but also covers such essential topics as how to attract native creative talent to your garden, and general artist distribution and migration patterns.
Over the years there have been many questions that we have received ranging from licensing and copyright issues through what qualities we look for in the artists we represent. Presented below are some of the most frequently asked questions and answers.
If your question is not answered below, feel free to drop us a line. We like questions. Especially riddles.
Everyone has heard about copyright. Yet what each person knows about copyright law and how they feel about it varies pretty wildly. Some are strong supporters of artists’ rights, while others believe copyright law has gone too far and think the use of creative work should be more free and easy. Others are unaware of the business of licensing artwork altogether.
If you are ever in doubt about the licensing of work commissioned from a JW artist, please ask and we shall promptly explain! In the meantime, we have provided some examples of classic licensing-related exchange for your perusal (portions of this text have been adapted from the American Society of Media Photographers excellent Business Resources section).
Original creative content, whether illustration, photography, or animation, is intellectual property and licensing its use is one of the ways we generate income for our artists. The fees for a specific project are based on the use of the artwork because the more the images are used, the greater value they have. Since they’re worth more, they cost more.
All work created for a brief is the intellectual property of the creator. Much like software or a book, you can purchase the use, but the creator still owns the material. The individual artist owns the rights to their artwork, but every job includes a license that will let you do whatever you need to. Our price will reflect the value of that license as well as the time to create the imagery.
We are more than happy to license a package of rights for all artwork, but you might end up paying for uses you do not really need. JW is service-oriented and accessible if additional uses arise. Our primary goal is, of course, to build a long-term business relationship, so tell us what your plans are and we can work out an equitable license or set structure for future re-use.
We are happy to quote a price for exclusive use of these images, but because this type of license prohibits us from generating any additional income, it will increase the cost of the project.
There is therefore limited exclusivity on all our licenses; this gives you exclusive use of the images, but it doesn’t restrict our ability to earn additional income forever.
Publications frequently have a standard contract for hiring artists to fulfil editorial assignments. If your publication does not have a standard usage contract, we are happy to provide one in our initial estimate to meet industry standards.
No, not really. The Jacky Winter Group is a full service agency, not a creative network or a portfolio site. Our business relies on relationships with clients and artists, and a good deal of money is spent on promotion - in print, online, and in person. We kindly ask that you call the agency as your first point of contact if you discover the artist in question through our efforts so that we may continue to bring you the finest commercial artists that this country has to offer.
Not always. As an agency we have to balance out both sides of the equation, maintaining excellent relationships with both artists and client. We have a responsibility to our clients to fairly charge for the creation and usage of original artworks, and have to balance that with our duty to our artists to get the best price for their work. At the end of the day, commissioning work through an agency will always yield better results. Our close relationships with all of our artists mean that we have the knowledge and experience to help you get what you need as efficiently as possible - on time, on brief and on budget. We also look after the production side of all jobs, and send you cool stuff in the mail.
We have worked budgets of all shapes and sizes, and are able to tailor a job in both its creation and licensing so you get exactly what you need, no more, no less.
There is no Jacky. You can try talking to Jack though.
This is a very difficult question to answer on many levels. In some ways, we know it when we see it; as with any art form, opinions are highly subjective. Regardless of the quality of the work, the first thing we look for is a good attitude. Our trade is commercial art, and as much as we represent artists, we need to be 100-per-cent confident that our artists will represent the agency in a positive light. After that, we look for a consistent, inimitable style. When clients come to Jacky Winter, it is usually for artists that are the best at what they do, or produce work that is unique to them. We like to see personality shine through, and most of all, we like to see ideas and thinking behind the work.
If your question is not answered here or in the interviews, please email us at info@jackywinter.com and we’ll see what we can do. All requests for JW artists will be passed on to the artist in question, and they will contact you directly if they are available.
Anything is possible! Email us at info@jackywinter.com with the dates you have in mind and we’ll see what we can work out.
Practice, practice, practice. Watch this space for more detailed student information and resources.
One of the best perks of our line of work is getting to view new and interesting works from artists near and far. Jacky Winter isn’t like any other agency, and we aren’t looking for any kind of artist. We want to represent a uniquely talented roster of image makers we feel passionately about and enjoy working with. While we would love to bring on every talented artist we meet, we have to strike a very delicate balance of resources to represented talent. Below you will find some of the most frequently asked questions regarding submissions.
Will Jacky Winter represent me?
The Jacky Winter Group exclusively represents Australasian artists. This includes both Australasian artist living abroad and locally, as well as international artists residing in Australasia permanently.
What about Rock of Eye and SEA Offshore artists
Our international rosters operate by invitation only.
Ok, i’m Australasian/living in Australasia permanently, how can i show you my work for consideration?
Email is the preferred method of contact for submissions. Please send a PDF of at least 5-10 pieces of your work, no larger than 10MB, to submissions@jackywinter.com with the subject ‘Artist Submission’. Please do not post printed folios or drop off work in person unless requested.
It’s been x amount of weeks since i submitted my work, and i haven’t heard anything. What should i do now?
We endeavour to personally read and review every single submission that comes in, and we like to set aside the time to do that properly. Our existing commitments to clients and artists means that this time can be hard to come by! The best thing to do would be to wait. Calling or emailing every few days will not speed things along.
Whilst we would love to be able to get back to all submissions individually, due to the large quantity of submissions we receive, we can now only respond to successful applicants. If you do not hear back from us within approximately 2 weeks, please be sure to continue to send us your folio as it updates and grows.
No really, it’s been a super long time, i haven’t heard back from you.
Check your original email to us. Did you copy and paste a form letter? Did you not write more than a half sentence of text? Was our email address one line in a long cc list of agents? Did you address the email to Jacky? If so, we probably won’t write back, sorry. If not, then please see the previous question.
You rejected my submission. I hate you and everything you stand for.
Relax. Don’t take it personally. It breaks our hearts that we can’t take everyone on, but don’t take the fact that we can’t offer you representation as a negative reflection on your work. As an agency, we have a very specific aesthetic that might not be the best fit for your work. Have you looked at other agencies? There are plenty of them out there! Sometimes we see a lot of very cool work that, in our opinion, would have little commercial application, and we don’t want to take people on that we won’t be able to benefit. Finally, maybe you need some time to develop. While we do support emerging artists with our incubator agency, The Hatch, for illustration, and have further plans for developing young Photography talent via SEA, you might want to consider looking at our Student FAQ for some resources you can use to further your education, and don’t forget to keep sending us work as you progress!
I would prefer to show you my work in person, is that possible?
Unfortunately we are not currently conducting any personal folio reviews, however this is very much on the cards as something that will be addressed in the future, perhaps with larger portfolio nights, so make sure to sign up to our mailing list to be the first in the know.
Okay, so you might have noticed things look a bit different around these parts. Come inside, have a look around. Do you like the new rug? We think it holds the room together quite nicely.
We’re very thankful that James Gulliver Hancock’s love letter to NYC – ‘All The Buildings In New York’ – has finally been made into a hardcover book. Published by Universe Publishing, this 64 page book features a whopping 60 illustrations of NYC’s rich [...]
The launch of MGPO’s True Self is only 10 days away now, and we can barely contain our excitement. The exhibition will feature 10 framed, large-scale photographs created in collaboration by 20 Australian artists, with all proceeds going to Fitted For Work. Pictured [...]
Much like Halley’s Comet, which is only visible from earth every 75 years, it’s not often that a full-time position comes up at the Jacky Winter secret aboveground headquarters (which may or may not be carved into the side of a mountain in [...]
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