Clare Melinsky on Payback: It is well worth the effort

Clare Melinksy talks to us about surprise moments with linocuts, how she tackles paperwork and the benefits of Payback.

How did you first get in to linocuts as your artistic medium? What do you enjoy about this style?

I did one week of linocut printmaking while on the Foundation course at Central School of Art, now Central Saint Martins. A transformation occurs with a print: you make the marks, cut the lino, but when you first see the first proof it is always a surprise. Even now I still get a surprise when I take the first print. It’s still fun and still engaging.

Where does your inspiration tend to come from?

I am an illustrator. Most of my work is commissioned, so the starting point is a brief from an art director, and a deadline. Inspiration may exist, but as Picasso said, “it has to find you working”.

There is another quote I like, attributed to the artist Chuck Close [not quite so famous]: “Inspiration is for amateurs – the rest of us just show up and get to work.”

You have worked across advertising, publishing and even Royal Mail stamps. Do you have a favourite project?

I did a cover design for the Cally Gardens Nursery plant catalogue in 1998, which was used each year subsequently. It has become well recognized by gardeners locally and further afield.

What would a typical day look like for you?

I live in a remote corner of south west Scotland. It rains a lot. So if the sun does decide to shine, I will find time to drop everything and go outside to do some gardening. Even if it’s February, I will go out for a bit. I can always put in extra time in the evening.

How has receiving royalties from Payback helped you with your practice?

It is reassuring to have some money coming in even if you haven’t had much new work.

Do you have any tips or advice for first time Payback claimants?

It is well worth the effort. The first time is the hardest, working out the history and chronology and finding ISBN numbers. It’s easier after that, because you just list the most recent additions.

You also completed a Publication History Claim, something DACS introduced for the first time in 2017. How did you find filling out the additional form? Was it worth it?

To be honest, my partner, Ronald Turnbull, offered to do this for me. I hate filling in forms. He enjoys filling in forms and making things add up. It was he who found out about DACS when he started out as a writer/photographer; the Outdoor Writers’ and Photographers’ Guild prompted him to start claiming, and alerted him to the existence of DACS.

Why is DACS important to artists?

It is important because we can be pretty hopeless at knowing our rights and pursuing them. It’s not creative, but paperwork matters.

What advice would you give to those starting out in their career?

Accept any commission that will add to your portfolio. Once you have built up a portfolio, get an agent if you can. My agent, The Central Illustration Agency has been fundamental in keeping me supplied with work. Even so, the flow of work is always erratic, never predictable.

Also archive, keep an accessible record of final artwork right from the start: name of project, client, date, an image of completed artwork. Use an A4 ring binder and plastic pockets if you have the shelf space, and/or the digital equivalent. 

Has your artwork ever been published in UK books and magazines, or shown on TV? Get your share of millions in Payback royalties. Apply by 4 May 2018:

 

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