Introduction

For this project, I created an Electronic Press Kit modelled after a website. I did so on Canva, creating a template from scratch to emulate what a possible web page may look like. I chose the EPK pathway as having a Press Kit would support my portfolio as an artist. This would allow me to display all of my attributes to potential contributors and sponsors of future projects, such as producers, promoters, venues, etc.

Considering domains, if I would like to own the handle ‘CharlotteClark’, Ionos provides a bundle which includes ownership of ‘.co.uk’, ‘.store’, ‘.org’, as well as ‘.online’ for the price of £132 per annum, with similar prices being displayed across many other sites (Ionos, 2026). This would be something to factor in budget-wise, as a musician who has just started in the business, as fees such as these aren’t always plausible. This is part of the reason why I created a mock-up to save my budget for other areas of the project.

Home

A header has been used across each section of the press kit. This includes my name, cover image, links to social media, and the different sections of the site. The stylised nature of the page provides immediate insight to the viewer of what the intended audience for my brand is, that being largely younger people, mostly women, who are interested in artists such as Billie Marten and Lizzie McAlpine, as well as the indie-folk genre. I determined this with help from a Musician Wave article, as well as a scholarly journal from Bain, on finding target audiences and constructing artistic identity. They describe taking steps such as “determining genre and niche”, “analysing similar artists and their fans” (Bain, 2005; Clark, 2023). From this, I noticed that my followers engaged with content from the aforementioned artists, as well as fitting within the younger-female demographic. Thus, the design presents elements of authenticity – hence the close-up shot, which was inspired by Billie Marten; however, some additional pastel flower decals in the background perpetuate the innocent, girl-next-door brand of my own (Marten, 2026).

The home page immediately gives potential investors, as well as audience members, an insight into my strengths and weaknesses as an artist, along with the journey it has taken for me to get where I am in the industry today. The phrasing of the bio has a down-to-earth sense of relatability, which conveys the everyman persona that I strive to portray. This is further supported by the testimonial from the lead guitarist of my college band (Lawson, 2026).

Moreover, to support the authenticity of the page, I included some elements from the websites of my artistic inspirations. Firstly, I noticed that Billie Marten and Lizzie McAlpine had advertisements for their new records displayed. Thus, I created an album concept, utilising similar formatting and language, with a colour scheme that conveyed my own artistic identity and showed my aspirations for future projects. Furthermore, I also used the idea of mailing lists (Marten, 2026; McAlpine, 2026). This ties together with the contact page, as well as making potential audience members feel more connected.

Gallery

This section is a collection of my work and promotional materials. It opens to a collage of commissioned promo shots, from a £20 session with a local photographer. To create the scenescape, we created a Pinterest board for inspiration beforehand. We liked the idea of having a mixed media shoot, thus both a digital and a film camera were used. This led to a mix of raw, authentic, and nostalgic, faded photographs, which conceptualised the brand incredibly well. Moreover, there is a mix of coloured and monochrome pictures, to play into the introspective nature of the music, as well as the idea of timelessness.

The page also displays links to videos of live and pre-recorded performances, as well as demos. This provides insight into what I am capable of, not only as a performer, but also as a songwriter, which is vital for potential investors in my music. Currently, I do not have any professional videos, nor any studio-recorded demos, both due to a lack of funds and availability. For the future, I have researched local Leeds videographers, the ballpark rate being about £500 (Webb, 2026), as well as being in contact with a producer from Leeds Conservatoire, who has offered help to record and mix some of my songs. These inclusions elevate the professionalism of my press kit.

Lyrics

This section was largely influenced by the suggestions from my peers and also advice articles to focus the website on what makes me unique (Goldilocks Playroom, 2025). I took inspiration from Billie Marten and the portion of her website which details the lyrics to her songs, having examples of my own be displayed, due to them being the main focus of my songs (Marten, 2026).

Gigs & Contact

These two sections are used as practical links to both my live performances and for my contact details. This allows viewers to have direct access to the product I am selling (my live shows and thus myself as a brand), along with means of contact for any inquiries or to potentially book me for further gigs. A way to further improve this page may be to include a link that takes fans directly to ticket sales or to add the dates to their calendars.

Although the aesthetic of the EPK has very closely replicated what is being portrayed on my social media and provides a link to readily available content, it may not include the necessary background or qualification information that potential investors may be after. This is similarly discussed in an article from Midnight Rebels, in which they discuss how, while social media accounts are beneficial for initial talent scouting, EPKs are needed to see the background information of artists and properly book them for gigs (Montes, 2026).

Improvements

Although my Electronic Press Kit holds a variety of very useful links and information, as well as showcasing who I am as an artist, there is room to further refine and expand upon it in the future. This could include setting up a proper website with a domain, hiring a professional videographer to create show reels of my gigs, producing high-quality demos of my songs and uploading them to streaming services – as well as putting myself out into the industry and garnering more experience.

Group Work

Throughout the process of creating the Electronic Press Kit, I consistently referred my work to my colleagues for feedback. This section outlines the suggestions received and how they were incorporated into the finalised product.

The first draft of my artist bio had many issues. The suggestions in response related to “focusing more on the musical aspects”, as well as removing phrasing that seemed out of place (such as the use of ‘anecdotally’ when discussing lyricism). This concept was further supported within an academic journal by Jones, in which he discusses the essentials to be incorporated into an EPK. Jones suggested, “less is more,” and that the content be largely “promotional” (Jones, 2001). With this in mind, I wrote what came to be the final version of the bio, which not only felt more concise but also uniquely my own. This gave the rest of the Press Kit a brief to expand upon.

A further session commented upon design choices, such as utilising cursive writing to perpetuate the idea of ‘folk’ or ‘acoustic’ music. This was further inspired by artist websites such as Olivia Dean, who incorporates a black and white theme (Dean, 2026). This was agreed upon to enhance the image of authenticity as well as the deep cutting lyricism, thus the inclusion of such within my own Press Kit. 

We further discussed commissioning some press shots, as well as what they should include. It was unanimously decided that they should incorporate a distinct presence of nature to portray the idea of folk music. I commissioned a local photographer to take the photographs in a nearby park in Leeds. We used both digital and film photography, as well as focusing a lot on the natural elements, as suggested by the group feedback. 

In a later session, however, it was concluded that the black and white theme appeared almost too moody and contradicted the image that was intended. To combat this, pastel flower decals were placed in the background, as well as the inclusion of more colourful photography and video galleries. This was to refer to the ‘girl next door’ image, as well as to match similar emoticons that I have utilised within my social media bios. 

In tandem, originally, only a limited number of photos were displayed. However, after conferring with my peers, it was concluded that a collage of the photographs would be more worthwhile for both promotional benefits as well as to further display the image that was intended. This was rectified by moving some decals up the page to make space for the pictures. 

Furthermore, we discussed expanding the EPK to contain unique sections. This led us to explore the website of Billie Marten’s, and the section that contained links to lyrics from her songs (Marten, 2026). We concluded that this would be something worthwhile for me to include, due to lyricism being a heavy focus of my music.

Bibliography

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Bain, A. (2005) Constructing an artistic identity. Sage Journals, (19,1). https://doi.org/10.1177/0950017005051280 [Accessed 22/04/2026].

Clark, B. (2023) 8 Steps to Find Your Target Audience As A Musician – Musician Wave. Available online: https://www.musicianwave.com/steps-to-find-your-target-audience-as-a-musician/ [Accessed 30/04/2026].

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Krukowska, D. (2024) EPK Examples for Musicians that Stand Out (+Templates). Available online: https://www.storydoc.com/blog/electronic-press-kit-examples [Accessed: 22/04/2026].

Lawson, B. interview with Clark, C. (2026) “Charlotte brought a clear vision and energy that made everything in Spring Wells click. It made every rehearsal productive and fun at the same time” [22/04/2026].

Marten, B. (2026) Billie Marten. Available online: https://www.billiemarten.com/ [Accessed: 30/04/2026]. 

McAlpine, L. (2026) Lizzy McAlpine – Official Website. Available online: https://www.lizzymcalpine.com/ [Accessed: 30/04/2026]. 

Montes, N. (2026) Are Electronic Press Kits Dead? How Instagram Follower Counts Dictate DJ Bookings. Available online: https://midnightrebels.com/edm-talent-booking-epk-vs-social-media/ [Accessed: 11/05/2026]
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