Where most mural artists begin
The mural industry is an exciting place, and many young artists dream of becoming full-time muralists and creatives. Through our time in the industry, we’ve seen just how strong that ambition is. But we’ve also noticed some major barriers that make it incredibly difficult for upcoming artists to progress.
One of the biggest issues is simple: access to walls. Without physical spaces to paint and gain real experience, artists struggle to build portfolios, prove their credibility, and move from small personal work into professional projects. This lack of opportunity also plays a wider role in the graffiti challenges we see across Bristol, and is a key reason why there are fewer emerging mural artists than there could be.
For businesses looking to hire mural artists, this lack of early opportunity often means fewer emerging professional mural artists to choose from.
The biggest barrier for new mural artists: access to walls
The start of a young mural artist’s journey is often unclear. How can you build a portfolio without access to space? Private clients and businesses want to see how you deliver, and want to know that you’re confident working at scale. Without clear experience to back you up, you’re often relying on trust, which can be inconsistent. As a result, many artists turn to the street, finding quiet walls to paint. This helps build practice and confidence, but it doesn’t always translate well on a professional portfolio.
It quickly becomes a loop for new artists. You can’t get projects because you don’t have experience, and you can’t get experience because you can’t get projects. It’s a frustrating place to be, and it takes real grit and effort to escape.
This barrier doesn’t just disappear when you get your first wall either. If you want to go bigger, and work on larger-scale murals, the opportunities become even slimmer. Access remains one of the biggest limits on progression.
There are some ways to break through this that we’ve seen. Some artists use grant funding to incentivise clients to work with them, and there are occasional graffiti festivals that you can pay to enter. But these opportunities take time and effort to find, are often competitive, and rarely offer a clear or consistent route forward.
Why being a great mural artist isn’t enough
We’ve realised that you don’t just need to be a good artist to make it into the mural world, you also need to become an entrepreneur. Throughout your journey you often end up needing sales skills, web development skills, marketing, negotiating, and even accounting just to stay afloat. It’s hard enough to be exceptional at your craft, let alone good enough across all of these other areas as well.
That’s why we’ve noticed that many of the artists who do break through aren’t always the most naturally gifted, but they work relentlessly and fully embrace the entrepreneurial side of the journey. Not every artist is willing to cold call, walk into businesses, pitch themselves, and face rejection again and again. You often begin this career for the love of art, and slowly find yourself becoming a struggling salesperson for your own work.
This doesn’t even touch on the level of competition within the industry. Another skill you quickly realise you need is the ability to stand out and find your own lane. That takes time, trial and error, resilience, and business strategy, all alongside trying to stay creatively motivated.
Our experience building Art Sync
We saw this barrier first-hand while building Art Sync. We knew we had the ability to deliver, but back then we had no portfolio. It took time to secure our first project, and even then, it wasn’t at the scale we originally wanted. But it got our foot in the door, and helped us to start building momentum.
We came into Art Sync with experience in business and sales, so we knew from day one that putting ourselves out there and facing rejection was unavoidable. That background gave us the confidence to approach conversations properly, build trust with clients, and establish a visible online presence from the start.
Most artists aren’t fortunate enough to have experience in these areas, so a lot of the journey becomes learning by doing. From what we’ve seen, one of the most effective ways to get that first experience is through your network. Who do you know with walls? Do you know any business owners? Would your family let you paint a mural? These small opportunities can help build early experience without relying on street work to represent your professional identity.
Creating real mural opportunities for artists in Bristol
We’re not just sharing this problem, we’re actively trying to solve it from the inside. By building strong relationships with businesses and institutions, we’re starting to unlock real wall space opportunities and create access where it didn’t exist before. Our latest partnership with UWE and New Wave is beginning to bring some exciting projects to life in early 2026.
We’ll be installing six murals for UWE across Bower Ashton, Frenchay Campus, and their new Kingfisher Court accommodation. Alongside the installations, we’ll be offering students the opportunity to shadow, assist, and take part in design workshops to begin developing real mural skills. The first project will be at Bower Ashton, where students will be involved in the full design process, from concept development through to helping paint the final winning design. This is just the first of several UWE projects that will include learning opportunities.
Alongside this, we’ve also received permission to paint at Skyline Park. We’ll be organising a spray day to give artists open access to a wall where they can experiment, practise, and gain real experience. The aim is to create a space for artists to learn by doing, connect with one another, and build confidence. We plan to offer this as a free experience, removing the financial barrier to entry.
Building a stronger mural ecosystem
This problem is real, and we genuinely want to help. Of course we care about supporting upcoming artists, but we also believe that by strengthening the mural ecosystem as a whole, we strengthen what we’re building too. Bringing new talent through keeps the industry moving, and keeps our own work evolving.
We’re excited to see where artists go when they’re given real opportunities, real walls, and real experience. If you’re an artist trying to find your way in this space, we see you, and we’re committed to doing what we can to make that path a little clearer to walk.
Whether you’re a business looking to hire mural artists, or an artist searching for real mural opportunities in Bristol, we want to play a part in making those connections happen.
If you’d like to hear about upcoming spray days, student projects, or future opportunities, you can follow our journey on Instagram.
The West of England is one of six priority regions to benefit from the government’s £150 million Creative Places Growth Fund. The West of England Mayoral Combined Authority will receive £25m of the funding to support the region’s creative industries.
For three years from April 2026, the funding will focus on four themes. The three priority sectors are screen, createch and music but other areas of the creative industries will be supported too.
Plans being discussed at the moment are as follows:
For full details watch this video:
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West of England Mayoral Combined Authority is running several events so people from the creative industries across the region can share their views on the plan for the fund and other ideas. The events kicked off with UWE Bristol‘s Bristol and Bath Screen Summit.
Helen Godwin, mayor of the West of England, opened the event and said:
“The Creative Places Growth Fund is a real vote of confidence, and the West of England Combined Authority is putting on a series of sessions with different parts of the sector over the coming weeks and months to help shape how we invest.
“The team are really keen that it is an inclusive exercise, and that we hear from the people who are doing all the amazing work, so we know what we need to do and how we best spend the money.
“We do of course have some ideas. The fund will invest to drive growth, innovation and global competitiveness across our creative industries. We think that the funding should include targeted business growth programmes such as international trade and investment initiatives to expand our global reach.
“The fund can also provide creative businesses and freelancers with access to diverse types of finance and support for businesses to adopt new technologies and to innovate even further.
“Sector specific development could include the establishment of a new screen development body, a regional production fund and a music development programme.
“Alongside these initiatives, the fund can address skills gaps and deliver large scale events to boost regional profile and the visitor economy.
“The money should also upskill workers, and it also should be used to attract more private investment to boost production here.
“We believe that if we work together, we can strengthen the west’s position as a world leading creative hub, but it can only happen with you at the heart of it. We are here to support, to help, to steer where necessary, but it must come from within the sector. I’m so excited to work with you all.”
Events have taken place in Bristol, Bath and Weston-super-Mare.
There’s an upcoming online event for South Gloucestershire businesses on Tuesday 2 December at 3pm. You can register here.
You can also submit feedback about the fund here.
To stay updated on the Creative Places Growth Fund, sign up to the mailing list.
BRAVA (Bristol Academy of Voice Acting) is delighted to announce that it has received two Society of Voice Arts and Sciences (SOVAS) Award nominations.
Best Podcast Host
The nominations are for Outstanding Podcast – Best Producer/Host – for BRAVA Founder and CEO, Melissa Thom, for the High Notes podcast on the art and business of voice.
From Monoglian throat singing to vocal health, accents, gaming and more, High Notes uncovers the craft behind the business. Series 3 has just dropped and explores ‘Words at Work’, talking to some of the best minds about voice, speech and communication for business.
Best Audio Drama
BRAVA has also been nominated for Outstanding Audio Drama for Angels in Bristol, an original Film Noir script based in 1954 Bristol, written and directed by Elaine A. Clark, and produced by Melissa Thom.
Elaine wrote the script exclusively for BRAVA’s in-person Characters Masterclass, held in Bristol every summer. This annual event provides participants with the opportunity to be cast in and record a range of productions, from audiobooks, to audio dramas, video games and more.
Melissa Thom, Founder & CEO of BRAVA said:
“I could not be prouder of everyone at BRAVA involved in these nominations. It’s a real testimony to the talent of our voice clients. Here’s to storytelling, community, and the power of voice; to putting Bristol and the South West firmly on the global voice map; and, most importantly, to creating art for pleasure!”.
BRAVA’s High Notes podcast is hosted and produced by Melissa Thom, audio and video engineer Euan McAleece, and audio and video editor, David Macgregor.
The Angels in Bristol cast: Carla O’Shaughnessy, Tiffany Xin, Marilla Lamour, Tina Duffin, Gwen Henderson, Tyler Woodburn, Guy Pass, Daniel Watson, Amy Smith, Rebecca Kozlen, Tabitha Owens and Melissa Thom. The Producer was Melissa Thom and Assistant Producer, Tabitha Owens.
To work with BRAVA on voice, speech and communication in the workplace and beyond, drop us a line at [email protected] or visit our website at www.brava.uk.com
Bristol… we are coming to meet you! Help us shape the future media creatives for our region. We are looking to engage with TV, film, content media, games, animation and the photography industry on 26th November at the gorgeous St George’s Hall
✅ Discuss key challenges and opportunities in the creative sector
✅ Shape future talent pipelines and influence taught curriculum
✅ Strengthen collaboration between education and industry to drive
Enjoy breakfast and open discussion with representatives from Weston College, University Centre Weston and Business West LSIP team
If you’re an employer in the creative industries and would like to join us, sign up through here
https://www.weston.ac.uk/event/media-production-photography-games-and-animation-employer-advisory-board
If you you missed the October offer at Gather Round, fear not – this November, for BCI members only we’re extending the ‘First month free’ discount!
Our BCI offer is available across all Gather Round locations and all membership packages. Whether you’re curious about Part Time or Full Time Flexi memberships, or prefer a fixed desk with Flexi Plus, or if you are looking for a studio for your team, we’d love to show you around.
Our co-working spaces at Brunswick Square, Trinity Church and Cigar Factory each have their own unique energy – but it’s the community that truly makes them special. Collaborations between members happen daily, just by bringing creative minds together.
Created by creatives for creatives, Gather Round is more than a co-working space, it’s a growing network of like-minded professionals who go to work every day and sit, write, design, consult and hang out. Soaking up the energy, passion and positivity from the ideas and expertise of others.
For more info on the different options, book a tour – we’d love to meet you.
Terms & conditions:
The government’s 2025 Autumn Budget takes place on 26 November.
Bristol Creative Industries members share what they would like to see in chancellor Rachel Reeves’ speech for creative businesses.
“It’s a tough market right now for creative businesses. We’re an economy of SMEs and micro-enterprises so support that encourages both business start up and scale is critical to our sector growth.
“While it’s encouraging to see central government championing the creative industries, we need that ambition to translate into tangible support. Support, simplification, and incentives for growth are what we’d like to see. That means easier access to enhanced funding, grants and investment, particularly for digital transformation and innovation, alongside tax strategies and initiatives that will create impact including practical help to make hiring entry-level talent affordable and accessible.
“The creative economy is ready to grow, we need support to help us do just that.”
Lis Anderson, co-chair of Bristol Creative Industries
“As the Autumn Budget approaches, creative business leaders must make the case for real investment in young talent. Our industry runs on innovation, but too many aspiring creatives are shut out by lack of access, training, and opportunity.
“Government support for employers to offer paid placements, mentorship, and creative facilities would unlock a wave of energy and ideas our sector urgently needs, and provide the foundations of a solid growth strategy. Investing in the next generation strengthens our talent pipeline, fuels diversity, and keeps the UK’s creative industries globally competitive.”
Mustafa Mirreh, Tell ’em Mo
“Rachel Reeves should be bold. It would be a good start to give the UK’s creative industries a leg up by doubling the Discover Creative Careers programme to £6 million, getting 100,000 disadvantaged kids into apprenticeships and setting up hubs in places like the North East and Midlands to close the jobs gap with London.
“A freelancer package, sorting out IR35, chucking in a £500 startup credit, easing late payment hassles, and a £10 million AI upskilling pot could tackle the skills shortage and calm 60% of creatives worried about job losses. That’d really spark inclusive growth!”
Jayne Caple, Vivid Imagination
“I’d like to see better support for creative businesses, especially when it comes to upskilling and investing in training. Improved R&D and innovation tax reliefs (with proper guidance on how to access them) would go a long way, as would targeted funding and incentives for skills development.
“With the big AI wave reshaping how we all work, it’s crucial that the UK government keeps backing the creative sector and helps it stay at the forefront of innovation.”
Rob Morrisby, Jambi Digital
“If the government is serious about fuelling the UK’s creative growth, it can’t keep treating podcasting as a hobby. The UK podcast and audio industry is now worth £5 billion annually – one of the fastest-growing in the creative economy – and a vital export channel for British storytelling.
“A targeted tax relief and global IP fund would turn that momentum into measurable economic impact, giving independent creators and production studios the same investment confidence enjoyed by film and TV. This isn’t a hand-out; it’s a high-return strategy. With the right fiscal framework, podcasting could become the UK’s next world-class creative export”.
Matt Allen, It Starts With a Podcast
“There’s some truth to that, but it also highlights an issue with discourse surrounding these big-ticket fiscal events.
“Will Rachel Reeves break a tax pledge? Who will the winners and losers be? This is interesting for those in the business of news and politics, but my issue is that it misses a bigger point.
“We have a government with a huge majority, elected on a mandate to change things. They have an opportunity to overhaul an economy that’s visibly and palpably failed too many people for too long – especially outside London and the South East. This is the backdrop for so many of the problems facing us today.
“My hope for the Budget is that we start to see the government’s vision for the country and understand how it plans to get us there. I would start by putting more resource with town and city leaders and getting Treasury officials out of London more often to better understand what places need to thrive and see where their policies over the last 40 years have failed.
“Creating the conditions for businesses and their teams to thrive should be top of any government’s growth agenda. Affordable homes, training and transport that works should all feature in some way.
“This would also add some meat onto the bones of the government’s slogan of ‘change’ and justify any tax rises that seem certain to happen. Polls suggest many people would pay more for public services that work. The challenge for the government is to join the dots between the measures and the outcomes they want. Whatever measure grabs the headlines, I hope we get more of a sense of what ‘change’ really means.”
Ben Lowndes, Distinctive Communications
“The UK’s creative industries thrive on talent, but nurturing that talent takes investment. I’d like to see the Autumn Budget prioritise easily accessible funding for apprenticeships and professional development, especially for independent agencies who want to bring in the best new people but are faced with complex (or costly) schemes.
“We also need sustained support for diversity, equity and inclusion initiatives that make creative careers possible for people from all backgrounds, not just those who can afford to take unpaid opportunities.
“Finally, a commitment to regional investment beyond London would unlock creative potential – and economic growth – across every part of the country.”
Ailsa Billington, Proctor and Stevenson
“Last year the creative industry was highlighted as a “key sector for economic growth”. This year I’d like to see the government go further. Creativity is an essential part of our economy, and we need stronger confidence, particularly in our region.
“Agencies like ours do more than “make things look good”. We craft world-class brand stories, shape digital experiences, and deliver campaigns that drive exports, growth, and innovation across the UK.
“Yet SMEs like ours are constantly squeezed. Rising costs, AI and immersive technologies are transforming how we work, and without targeted support and innovation agencies risk being left behind.
“The Autumn Budget is a chance to see more funding in that pace, and I’d like to see more opportunities with procurement to smaller agencies, and any business support via tax reliefs would be hugely welcome!”
Ruth Clarke, Six
“Employers shouldered the biggest tax rises in the October 2024 Budget, felt through the increase in employers NICs. Whilst Rachel Reeves has given herself very few tax levers to pull for the November 2025 Budget without breaking her manifesto pledge, I think it’s unlikely that further tax will be put on employers.
“Taxing businesses will only create more uncertainty. The creative sector needs a Budget that will bring back confidence in the UK economy.”
Karen Pearce, Loom Digital
“I feel like the Autumn Budget has been a long time coming – partly because it’s later than usual but partly because I’ve read so much about what may or may not happen. Most of it gloomy. But I’m waiting for the facts.
“I’m expecting changes to tax thresholds, but we’ll see what detail there is around that. I’m also expecting national minimum wage increases, but as a Living Wage Employer we’re well set up for them. I am encouraged by the recent measures announced to tackle late payments, which are a big problem for small businesses.”
Jessica Morgan, Carnsight Communications
“We saw business rates rise by over 30% overnight in the last review just a couple of years ago. With another review due next April — and no clarity from the Valuation Office, I’m deeply concerned. In uncertain times, the last thing businesses need is complete unpredictability.
“There’s talk of favourable changes for smaller high street properties being funded by higher rates on larger properties, but its just a mess. The entire business rates system needs rethinking. I hope a national review is on the agenda this autumn in time to give some clarity ahead of April.”
Jason Smith, Gather Round and Fiasco
“As a small, independent, creative business leader, I’m looking to the Budget for reassurance that skills funding will work for businesses of my size and nature. SME access to funds for AI and digital upskilling is critical in helping us maintain pace with some of the larger creative players.
“I would also welcome harder enforcement on late payments as cashflow has become increasingly challenging with rising business costs since the last Budget. Do this and agencies like ours in Bristol will have the support to continue our growth journeys, contributing to the wider creative offering within the South West.”
Lucy McKerron, Purplefish
“We hope the Autumn Budget recognises the vital role of the creative industries in driving economic growth and innovation. AI offers incredible potential for agencies like ours, and with the right support, such as relief on AI investment, we could combine technology and human imagination in even more powerful ways.
“Incentives for content creation would further unlock bold ideas and new jobs across the UK’s creative economy. Ultimately, a Budget that treats creativity not as a luxury, but as a catalyst for progress, would be a powerful statement of intent.”
Kit Worrall, Team Eleven
“TV sets (and mobile phone and routers) are all coming with a big NPU (neural processing unit) inside which will allow the device itself to modify the content while the user watches. You can be in EastEnders for example!
“This creates massive new opportunities for UK creatives to lead, but to do it requires investment in tech as well as the creative industry.
“The tech to do this is created in the UK (we are one of those tech companies) but generally tech is ignored by the creative industry.
“This is not expensive cloud based AI. This is Edge-based AI running in the device, at no cost to the broadcaster. So far only the American and Chinese hyperscalers are taking advantage of this UK tech!”
Trevor Neal, RedSquid AI-TV
Look out for a guide to what the Autumn Budget 2025 means for the creative industries after the speech on 26 November.
A guide to the government’s creative industries sector plan
A guide to the government’s digital and technologies sector plan
Government names West of England as priority area for creative industries
Bristol-based creative agency saintnicks has been awarded Gold at the Digital Impact Awards, recognising its work with POSCA, part of Mitsubishi Pencil Co. The win came in the ‘Best Community Development’ category, celebrating the agency’s success in growing and nurturing an engaged creative community on social media.
The Digital Impact Awards highlight excellence in digital stakeholder engagement and the power of online brand communication. saintnicks’ campaign for POSCA focused on building authentic relationships with artists and makers across the UK, showcasing their creativity while amplifying the brand’s cultural relevance in the creative community.
Fraser Bradshaw, CEO at Saintnicks, said:
“We’re incredibly proud of this recognition. It celebrates not just great creative work, but the genuine connections built between brands and the people who love them. The POSCA community embodies everything we believe in – creativity, authenticity and engagement that lasts.”
The award-winning campaign brought together art, culture and community to celebrate creative expression and inspire participation. A full case study of the work can be viewed below.
If you’d like a chat about your challenges or request a complimentary social audit, drop them an email and say hello. You can find out more about their social media and content expertise here.
Weston College and University Centre Weston are looking to work with creative businesses to shape delivery, curriculum and skills alignment to provide your industry with a talented and work ready future workforce.
Current courses delivered by us include:
Please join us at one of our events (you can find them all here) and have your say! https://forms.office.com/e/0T1Z42Ey2V
We’re delighted to announce our third Skills Bootcamp in Virtual Production!
Starting Wednesday 17th December 2025, these fully funded courses offer an incredible opportunity to gain cutting-edge skills that are transforming the future of film and media production.
We are offering two specialist courses:
• Virtual Production with Unreal Engine
• Virtual Production with Sony VENICE 2
These bootcamps are free to learners, funded by the West of England Mayoral Combined Authority (WEMCA) and led by the University of Bristol in partnership with MARS Academy (MARS Volume), Gritty Talent, and accredited trainers in Unreal Engine and Sony VENICE 2.
Virtual production is revolutionising the screen sector by blending live action, visual effects, and real-time 3D environments into a seamless creative process.
Applications close at midnight on Wednesday 12th November 2025, please share with your wider audience.
Gritty Talent’s Skills Bootcamp – Inclusion Accelerator, launches on the 14th January 2026 in the South-West of England. Book early to avoid disappointment….
Engaging, practical and designed for change, the Inclusion Accelerator has been thoughtfully developed to turbo charge inclusivity in the creative industries.
The Skills Bootcamp is open to 20 leaders, hiring managers & EDI leads within creative sector organisations and companies in the West of England Mayoral Combined Authority (WEMCA) region. This dynamic, guided learning bootcamp, with the outcome of creating a company specific implementation plan, will be delivered by Gritty Talent’s own senior leaders who are creative industry professionals and EDI specialists.
What’s more it’s HEAVILY subsidised by WEMCA, who fund up to 90% of the cost for learners
For full information on funding, eligibility criteria and application details. Follow the link below.
https://www.grittytalent.tv/skills-bootcamp-inclusion-accelerator
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