You only get to make a first impression once… so do it right.
We originally put together the following "questions and answers" for the Society
of Illustrators’ scholarship students and decided to update our research and offer
it to new illustrators with the hopes that it will be a helpful tool. Most art directors
love discovering new talent so use your entry into the field
as a one-time opportunity to "WOW!" the buyers. Don’t jump in until you believe
your portfolio is ready. On the other hand, a portfolio is a work-in-progress
that hopefully, will constantly improve and evolve. We hope you find the following
information helpful.
What do I put in my portfolio?
The style of work contained in your portfolio is important.
Every student seems to ask the same question - "Is it better to
show one style of work or many in my portfolio?" Although you
will get a different answer from every person you ask, here is
our experience:
If you are showing your work in a major market (e.g. NYC, LA,
Chicago) it is best to show the client one primary or
"signature" style with the end of your portfolio reserved for
showing your range. Remember, if you are seeing a buyer in these
cities, they are bombarded with portfolios and you need to make
yourself memorable for doing something unique. Continue to
expose potential clients to additional work as the opportunity
arises. In a smaller market, art buyers often use the same
artists for a wide range of work so you can be broader in style,
technique and include various target markets within your
portfolio.
Most beginning illustrators will have a wide range of subject
matter throughout their portfolio whereas most experienced
professionals can tailor their presentation to reflect specific
needs of the buyer, because they have years of work to choose from.
When possible, steer your subject matter to the exact need of your
audience. This may require some research prior to submitting your
work, but the potential dividends are well worth the effort.
Prints are much better than transparencies and a fraction of the
cost. It’s important to make every effort to produce the highest
quality prints possible. Poor reproductions or badly composed
pages will undermine your efforts. The average professional
portfolio has between 15-25 pieces. This being said, it would be
far better to show 10-12 pieces of consistent, strong work than
20, of which eight are not your very best effort.
This is important - you are only as good as your weakest piece
so be VERY picky about what you show. If you are questioning if
a particular piece is good enough, play it safe and either leave
it out, or fix it. Be relentless in your editing. Allow other
professionals to review your work. We all have favorite pieces
for personal reasons but they may not represent our strongest
efforts. It’s also best to show the kind of work you want to be
hired to do, if you don’t want to be producing portraits, don’t
include them in your portfolio just to fill it out.
One of the most difficult aspects of entering this business is
that you will be competing against professionals who have been
in the industry for a number of years. There is no Jr. Varsity.
People are counting on a professional artist that will deliver
what they promise, when they promise it, how they promised it.
Remember that the art director’s reputations/jobs are on the
line with every assignment so you need to prove to them that you
are professional, reliable, and talented - all through your
initial presentation. Each piece in your portfolio, like each
piece you produce as a professional illustrator, must be your
best effort.
How do I present my work?
Keep it simple and make the work look its best without
distraction. You do not want to hide beautiful work; let the
image speak for itself in a strong, simple presentation (i.e. a
black portfolio case with clear sheets). If other elements like
headline type, body copy or design elements don’t enhance the
image, leave them off.
Print your work using the best printer possible. It is essential
that you do not compromise quality in printing, paper and the
binder. No excuses, your portfolio must show great
craftsmanship.
Do I need to be published to have an effective portfolio?
Not at all. Great work speaks volumes; it is not important
whether you are published or not. Clients often feel safer
hiring someone with experience because they are more confident
that the artist knows how to meet deadlines, communicate ideas
and work with art direction, but you can overcome this barrier.
For starters, do not refer to your work as "student work" or
"art school assignments". Once you enter the professional
world, you must in every way project yourself and your work as a
professional.
Some artists prefer showing published work in context while
others feel that the print quality is better without the use of
tearsheets. The key is to show your work in the best possible
format and insure it is the focal point of the page.
What about a web portfolio?
Ultimately, you need to have a portfolio on-line. Clients often
want to follow-through to see more samples or get additional
information via the web. It’s essential that you have a web
presence somewhere, but do not be rash in establishing a site.
Take your time and find the best situation for your work and
your resources. You may want to put together your own web site,
join a group site, or both. There are countless ways to go about
this so ask your friends, mentors, and others about their
experiences before making a decision. Whatever you decide, be
sure your website will promote your work effectively, and will
attract the right audience.
Once my portfolio is ready, what is my next step?
Get a list of potential clients together. You can collect these
by going to a bookstore and collecting publishing and magazine
names as well as the names of their contributors. You can also
find a number of resources on the internet for these markets and
others. Also, many lists are available for sale through the
industry sourcebooks and sites. Be wise in where you choose to
expend your valuable resources. There are some great resources
and bad ones as well. Most of all understand which places are
the most appropriate to target, based on their markets and the
kind of work you produce. Do not waste an art director’s time or
your efforts by marketing the your product to the wrong venue.
Tell me the proper questions for approaching a potential client?
Now it is time to begin introducing yourselves. Start getting
"portfolio policies" from your potential clients. They will tell
you if they review portfolios, when and where. It is acceptable
to tell them that you are new and that you would appreciate any
feedback they may have. Clients usually treat portfolios with
some extra attention when they learn you are new to the scene
and will often offer helpful feedback. In the largest national
markets be prepared to participate in portfolio "drop-off" days
where you drop you portfolio at the front desk at a
predetermined date and time and then come back to pick it up at
another time. You might want to follow up on these events with
a phone call for feedback at a later date.
Do I need a "leave-behind"?
Any reminder you can leave with a potential client to help them
remember you and your work is valuable. "Leave-behinds" can
take many forms: a postcard, a custom produced page with one or
more images, or even perhaps a specialty item that is uniquely
reflective of your work like a self-produced sequential comic or
story. It is key that a leave-behind piece be an accurate sample
of your best effort, that it is professionally produced, and
that it contains your essential email and phone contact
information.
Do postcards work?
It is no secret that clients are inundated with postcards. Many
say you will get lost in the shuffle - but it is our experience
that a great postcard will get noticed. The image you choose for
a postcard should be strong, immediate, and memorable.
There are many quality postcard manufacturers available. Do your
research to get the best deal. Make a realistic estimate of how
many cards you will need based on the industry you are
targeting. Be uncompromising about quality.
Does advertising on the web help?
Having your own website is extremely helpful but it is the extra
venues of support (i.e. sourcebooks, postcards, invitations,
other websites, etc.) that will draw prospective clients to your
site. There are a number of group sites that can be helpful, but
evaluate them carefully for value and quality and be very
discerning. These choices will significantly impact your
potential for success and your future so research all options
thoroughly before investing your resources. Other professionals
can be a great help of in evaluating these matters.
As with print portfolios, be very particular about what you show
and how it is presented. Everything counts, so think through
each detail down to the to the sequence and order in which you
show your work.
Do sourcebooks work?
Today sourcebooks do not have the marketing monopoly they once
did from the mid-70s to the mid-90s, but are still widely used
in the industry. If you hope to work in advertising, it is still
a strong marketing tool, but it is not quite as strong for the
other fields of illustration. Ideally, sourcebooks are one part
of a larger marketing plan. Everyone has their own formula and
each is custom fitted to their needs, budgets, and goals. So,
sourcebooks are the answer for some but certainly not all.
Do competitions help to get work?
Times are rapidly changing and the strength of these shows has
been diluted with the wide variety of print and electronic
marketing options available today. It is wonderful to be honored
by peers and clients but the competitions sometimes represent a
great investment of time and money. Therefore, use discernment
in which competitions you enter based on your marketing plan,
your goals, and your budget each year. Also note some
competitions have been established because of political
motivations so choose your associations wisely.
Would a "mentor" help?
We highly encourage you to speak to professionals (defined as
those who are currently working full-time in your industry of
interest). Consider asking a few from various age groups,
locations, and experience levels to review your work, answer
questions, and share ideas. I have always been very impressed
with how generous illustrators are with young artists. Don’t be
intimidated. You will find different opinions are helpful and
hugely educational. You can also save a lot of time, money and
anxiety by listening to the experiences of others. But always
remember, take what is constructive and helpful from any advice
(including ours) and use your own judgment in implementing those
ideas into your career.
How long does it take to be a full-time working illustrator?
That is a hard question indeed. Steve Brodner, one of the most
brilliant professional artists, says it took him 11 years.
Roberto Parada, another remarkable artist, found success right
out of school. Different artists have different stories and
there are many factors that determine success. Illustration is a
very tough industry: the overwhelming majority of your
classmates will not become full-time illustrators. Many artists
subsidize their income with other jobs such as teaching, or graphic
design, as well as countless other options until they gain enough
work to support themselves full-time. Although achieving success
is tough, determination and perseverance will enable you to find
your way.
Do I need an agent?
Understanding that we are agents in addressing this subject,
we’ll try to give this question a fair response, which in truth
varies by artist.
Some artists prefer to do their own marketing, negotiating, and
selling, while others prefer to focus their time on creating.
Most successful illustrators have found the experience and
knowledge they gained from taking sole responsibility for the
launching of their career invaluable.
It is in fact very difficult to get a rep, and even more so for
a new graduate. Many reps look for illustrators with a proven
track record and a well-developed signature style. Each has
their own specialty and will look for artists that suit the
needs of their clientele. Therefore, keep in mind that if a rep
turns you down, often it is for reasons other than the quality
of your work.
If a representative does decide to work with you, they will help
get you assignments, saving you time, but this service comes
at a cost. Normally the representative will work "on spec",
which means they will get a commission of 25%-30% for any
projects assigned. Some artists thrive in this type of
relationship, while others have the need for singular control
and management. The optimal arrangement often depends on the
needs and the personality of the artists.
There are some wonderful reps out there such as Lundgren and
Smith, Tony Andriulli, Vicky Morgan/Gail Gainin, and George
Watson. As with all industries there are some individuals that
damage the reputation of all. Each one has their own approach
and manner so know who you are soliciting and how your work fits
their group. Also, be very careful about what you sign. Do not
let anyone pressure you into signing anything - whether that’s a
contract with an agent or an agreement with a client. If you
are being pressured it is a warning sign something may be wrong.
Always do your homework as to what is the industry standard.
Advocacy organizations such as SPAR, The Society of Illustrators
or the Illustrators Partnership of America (IPA) will be great
resources, as well as the opinions of your peers.
What else should I know?
As friend, teacher, and illustrator Dave Passalaqua taught me, "Don’t ever
stop drawing or experimenting." You will never know your full potential if you
do not continue to grow. In most cases, within the first year of graduating, you
won’t use any of the work that you thought was your best upon graduation.
That is growth and that is the beginning of what makes a career that lasts.
Don’t rely on a gimmick to break into the scene because your
gimmick will be out of style within a short time. We can’t
emphasize enough how important it is to continually learn and
remain on the cutting edge. Work and busyness cannot be allowed
to stop your growth. Seek out opportunities to participate in
professional organizations, visit museums, read trade
publications, and attend professional events.
Also remember, creating a quality portfolio is only the
beginning of the task of becoming a professional. You need to
know how to market and manage your career. We have seen more
great talent untapped, underused, and wither-away because the
individuals failed to be proactive in managing their careers.
This is hard work. If you wake up in the morning and can think
of something else you can do for a living then do it! If you
know illustration is not an option but "a must", then welcome to
the family. We look forward to seeing your work and wish you the
very best.
Take a look at our other "F.A.Q." section for more details about
business issues. Please write us if you think there are
questions we have not addressed and we will consider them for
future postings.
And also, please visit our ARTIST SERVICES
if there is anything else we can do to assist you |
