Sofia McClarnon

Ever wondered who makes the models and props for film, shoots and displays? Sofia McClarnon is a freelance modelmaker and sculptor, creating props and art for the likes of Beetlejuice and Burberry. In this week’s Creative Lives, Sofia shares their journey into the world of modelmaking, from building contacts to persisting in the face of ‘no’s’. Plus, why sharing round opportunities is the most genuine way to network.

What I do

My creative practice
I am a freelance modelmaker and a multimedia sculptor. I work with both modelmaking companies and directly with clients on props for TV shows and advertisements, marketing displays and pop-ups. I get to do a bit of everything: sculpting, painting, sanding, moulding, casting, scenic painting, etc.

I use a lot of the same materials and processes in my personal practice doing multimedia sculpture and beadwork, which I display at galleries and scale down for things like art markets and events. This is where I get to express myself and experiment more without as much of a deadline or brief.

Influences and inspiration
Nature and organic forms, especially the wildlife I grew up with in Florida and miss. I often use it in my work, either as a main element or as a reference.

I’m inspired by horror and monster stories and their ability to tackle complex topics in a fantasy setting. I love how artists like Guillermo del Toro, Jane Schoenbrun, Jordan Peele and Boots Riley use monsters as a complex character or storytelling device, not just a fun scare.

I am pushed by anger as well. Seeing the hate and violence coming out of the US and UK alike reminds me not to let myself become small or afraid; it pushes me to keep sharing my work and keep loudly supporting those I love.

My training
I got my degree in modelmaking from Arts University Bournemouth. I wouldn’t say a degree is absolutely necessary to do what I do, but it does give you a good base to build your portfolio, use safe practices and understand materials. Most of all, studying modelmaking gave me a group of people doing the same thing as me that I could look to for support, advice or information about the industry.

I also try to experiment with new materials and techniques as much as I can at home. The more I’ve worked with things, the more comfortable I am taking on that sort of work if it comes up.

Favourite recent project
Lately I’ve been taking on more client work independently, rather than as part of a modelmaking company. Recently I got asked to make a few rhinestone chain necklace pieces and really enjoyed the chance to take a project from start to finish. I always enjoy the jobs where I get to be a bit more creative and solve problems, especially because the jobs you get as a modelmaker can sometimes become quite repetitive or assembly-line-like.

A day in the life
It’s hard to have a ‘standard’ day as a freelancer, but it’s usually either an 8-5 day in a workshop or at home doing my own work. If I’m working for a company or production, I’m usually up early, packing lunch and getting the train to wherever I’m working that week. I’ll then spend my day doing anything from painting to sanding to fibreglass.

If I’m not “working”, I’ll be at home doing admin or making my own art for exhibitions or art markets. I have a solo exhibition coming up in January, so recently I’ve been doing a mix of prepping for that and making new zines for events I’m selling at. During this time, I’m also reaching out about work or applying for grants and open calls.

A starter pack for my job:

How I got here

Starting my creative journey
I’ve been sculpting and making things since I was a kid. I spent years sculpting with polymer clay as it was easy to access and popular online when I was growing up. I quickly started selling my work at local fairs, with my school and on my own. I started out mostly trying to replicate things I saw and loved from film, TV or other artists. While I learned a lot from these years of selling my work, it’s also meant that I’ve only recently let myself be more expressive and experimental with my art.

Landing my first few jobs, clients and/or commissions
My first few jobs were mostly based on someone else giving me a chance, friends suggesting me for a job where they worked, or being lucky enough to call at the right time. I’d like to say that my work stood out and I was picked from the masses, but it was mostly that I was nice, focused and available.

Whatever you do, don’t wait for someone to come find you. Reach out, call and email, try and get in front of people as much as you can. There are plenty of people out there who can do a junior position, hirers just want someone they like and who they’re confident will listen, focus and take enjoyment in the work. That can totally be you, but they have to know you exist and are serious about the work.

Biggest challenges along the way
Keeping momentum up. Even after a few jobs or meetings, I found it really hard to not get beat down by having to continually put myself out there and, more often than not, be met with a no. Especially after I’d been successful a few times, it was hard not to get comfortable with the idea that these people might want me back again. It's good to have places to return to that already know you, but I had to actively remind myself to keep trying and calling around to make sure I’d have work to do if those places went quiet.

My social media and self-promotion vibe is…
Be a real person. At the start, I tried to make my social media interchangeable with my portfolio – all my projects, no fluff, everything clearly laid out. I soon realised that I wasn’t getting recruiters on my social media and that when I reached out to companies, I was giving them my portfolio, not my Instagram.

Once I started dividing the two and using them differently, both of them got a lot better. I made a website portfolio that clearly breaks down who I’ve worked for, my skills, examples of my work and how to contact me. My social media is now where I post more fun stuff that random people on the internet enjoy and connect with – the materials I’ve been experimenting with, my personal work, my prep for Comic-Con. It makes people want to root for you: sometimes that leads to someone offering me space at a gallery, sometimes it leads to a great chat. And if they want more concrete info on what you do and how to hire you, they can go to your portfolio.

Three things I've found useful in my career:

Courses, programmes, initiatives, access schemes or job boards I've found helpful
I love a little spy on LinkedIn – companies will post updates there on needing new people, usually not as job listings but as posts asking you to email them or reach out in some way.

Career or open workshop days, Set & Scene and the Warner Bros. Leavesden Recruitment Fair are helpful for meeting companies directly and putting a face to a name so you aren’t just another email or call. You get to speak to people in an environment where they’re there to answer questions and give insights, as opposed to approaching them during their workday.

My greatest learnings when it comes to making money and supporting myself as a creative:
Doing a variety of things but keeping it creative works best for me, from selling at artist markets and on Etsy to taking commissions and working in workshops and on sets. Sometimes it's nice to have a non-creative part-time job so you don’t burn yourself out, but for me, I’ve found it best to try and focus on things that can be seen as transferable or desirable skills. When work is slow, I try applying for things like artistic grants or submitting to juried shows with prizes.

If you’re going to take on things like commissions or client work, price yourself like a professional, in a way that makes you feel compensated for the time and effort you’re putting in. I still have a hard time quoting clients a realistic number. I’m scared to say what is, to me, a big number out of fear they’d say no, but I’m forcing myself to get better at it. Honestly, you sound the most professional when you can give a clear quote of what they’re paying for and why.

You also don’t have to take every job. When you’re freelance, it’s hard to say no to anything, but if a job is offered that you don’t want, whether it be you know it isn’t paying, the environment is bad or you’ve planned a break, you can turn it down and it isn’t the end of the world.

Advice

My most useful career tips
If you see an opportunity you think someone else would be good for, send it to them. We’re all in the same boat. As useful as it is to know people in your same field, it's also great to have friends in adjacent fields. You can’t sew but someone else can? – send them that job listing.

This is one of the nicest and least silly ways to network, especially if you don’t know how to network without sounding like a finance dude. Go and meet other creatives and look out for them. Send them open calls they might fit. I’ve been helped by loads by people like this, and I do the same in return.

What I'd say to someone looking to get into a similar role
Do a variety of things, but have a few core skills you feel confident in. When you call around asking for work, have a few good answers about what you do and good portfolio examples – it makes you look more professional and less like a hobbyist.

Get comfortable with power tools. You don’t have to be a pro, but if you can use things like a drill, vibrating saw, jigsaw and maybe an angle grinder without looking scared, that definitely helps. Equally, be confident in what you are and aren’t comfortable with; if there's something you don’t think you’re confidently able to do safely, just say.