By :
Ahmad Anis b. Mohd Fauzi
Faculty of Creative Multimedia,
Multimedia University
63100, Cyberjaya.
anis.fauzi@mmu.edu.my
Want to be a pro illustrator? Or maybe you already are, but fancy picking up some tips that may have passed you by. Well, here they are, in bite-sized nuggets-the 101 tips that could put you ahead of the field!
That killer portfolio
In this first section we investigate the dos and don’t of portfolio presentation. We look at how to present your work to its best advantage and which format is best for you and your potential clients…
1. format
Depending on who you plan to work for, you’re still likely to need that old-fashioned leather portfolio with plastic sleeves.Clients like something printed in front of them. It works in meetings and doesn’t suffer from compatibility problems. Buy the best you can afford.
2. spend wisely
Buy leather portfolio. It will save you money in the long run. Leather wears so much better than plastic. Its says that you take pride in your work and may help you command higher fees because it shows that you mean business.
3. presentation
You live and die by the quality of your portfolio. Your work may be up against work by other illustrators, so make sure that your portfolio is well presented. Clean or change the plastic sleeves in your folder on a regular basis.
4. Keep it concise
Be clear about what your portfolio says. You may not be with your work every time it’s viewed. Keep it clear, concise and precise and present a positive image. Choose your strongest work; work that you feel positive about. Don’t include anything that you may have to apologise for.
5. who is it for?
You need to show potential client what you can do. Your clients, usually a designer or art director, may need to show it to their clients to get approval. Your portfolio must be able to speak to a whole range of different audiences, so remember this when you put it together.
6. Up-to-date portfolio
Other tips for smart professional portfolios: get into the habit of regularly adding new printed work as you produce it, keeping your folio fresh and up to date. Make sure the running order makes sense group work depending on the type of client it was produced for.
7. Strongest image
Kick off your portfolio with your strongest image and end on an equally high note. These are the most important images in your book. Keep a list of exactly what is in your portfolio and the order it was in clients will rearrange your work, and putting things back in the right order can be a real headache.
8. Double up
Create at least two, may be here portfolios, if you are planning on being busy. Many designers and art directors simply don’t have time to meet all illustrators and want you to ‘drop off’. Keeping more than one portfolio circulating means no dead time.
9. Be prepared
With more than one portfolio, you never run the risk of being called in for that lucrative advertising commission at short notice without a folio to hand. It happens, so be prepared and have one next to the phone.
10. Websites
Important, useful and a great complement to that leather bound folio, a website will greatly add to your client base. Directing clients to your site means that they can view your work whenever, wherever. Cut your courier bill by not having to ship your portfolio all over town.
11. Be creative
Use your site to showcase commissioned work, non commissioned work and even work in progress. Remember to update your site on a regular basis and let folks know that you have too.
12. The interactive CD-ROM
Another extra to your leather folio but not to be overlooked. Being able to leave this portfolio with clients is cool. So long as it works with theirs kit and is bug-free! Think about your audience-will they appreciate your extra costs in time, energy and materials?
13. Focus your work
Think carefully about the work you show. Don’t think that clients will want to see a couple of drawings from an evening class you did over ten years ago. Make sure that the work sits together well and doesn’t cover too many styles.
14. The postcard
The original format for illustrators promoting their work is the postcard: full colour image on one size and one colour on the reverse for contact details. Cheap, cheerful and quick to produce, they fit in the sleeve inside your portfolio too. Beat that!
15. Print runs
The unit cost of a postcard goes down the more you have printed. Before you order 1000, though, think about whether you will use them all before you are sick and tried of the image. Look at the costs of shorter runs using a digital press rather than off-set litho.
16. Shop around
You could get together with other illustrators and take a whole sheet; postcards are printed 16 or 32 up. It will work out cheaper but could be a hassle. If not, play the card printers off against each other to get the best price.
17. Other formats
Postcards make sense but may seem boring. Think about other formats that you could adopt. Calendars have a one year shelf life, if they are liked and used. Desk tidies are naff and should be left to Blue Peter.
18. Contact details
Your final choice of self promo should show an image, your name and contact details such as web address and phone number. Sounds straightforward but many illustrators concentrate on the image and forget the details.
19. Annuals
Get your work in annuals. Art buyers in advertising agencies swear by them. The pay-for-page illustration annuals like Contact and The art Book aren’t cheap at between 600-1000 per page but many illustrators claim they work better than anything else.
20. Press release
Send out a press release to design magazines and journals when you create high profile work. Send good large-format transparencies as well as concise ‘story’ about the job. The design press have pages to fill and you can provide the content: hey presto- free publicity!
21. Competition
Enter your work in national and international competitions. Many of the big organizations produce thick, glossy annuals of the best work and some run touring exhibitions as well as websites that feature the work.
22. Freebies
From your website, sell limited edition, signed digital prints. Not all publicity material has to be given away. Encourage users to download free screensavers you have created. Imagine your work on the screen of a computer in a busy design studio.
23. No spam
Don’t spam! Nobody wants mail that they did not ask for. Once you have started to work for a client they may be happy to receive a regular email newsletter or set of low-res images, but wait until they are clients.
24. Contact galleries
Have an exhibition and invite potential clients to a private view. Let the design and local press know well in advance. On the night, stay off the white wine and use the event to make contacts and meet new faces.
25. Avoid the tacky
Spending money on getting pens printed with your name on, sticks of rock with your email address running through or cheap diaries with your contact details across the front aren’t big or clever.
26. Mouse mats
Don’t waste money on getting mouse mats made up with your work on: many designers use Macs and the Apple Pro Mouse killed off the mouse mat!
27. Publicity
Keep folk up to date with what you are doing. Spend time and cash on creating new publicity, showing how your work is evolving. Have a long-term plan for maintaining contact with your clients.
28. List of creatives
Think about buying lists of creatives from companies like File FX in London. For a reasonable fee you could have the name of all the art buyers and creative directors in top 200 advertising agencies in London. Think about how much time that could save you on the phone.
29. Research
Spend time conducting some research. If you want to create illos for magazines, browse through them over coffee in places like Borders. Target the right folks; try art editors and art directors.
30. Other artists
Every time you see an interesting book jacket or CD sleeve, make it your mission to discover who created it and who commissioned it. Send the commissioning designer a copy of your publicity if you think that your work fits. Follow it up with a phone call to make an appointment to show your portfolio.
31. Telephone manner
Be polite on the telephone and keep a pen to hand to write notes. Make sure that you’ve sent samples or publicity in advance. Trying to explain what your work looks like over the telephone isn’t easy.
32. Database
Invest in a good database app and get used to updating it with new info on a regular basis. Enter a broad range of fields that include the obvious things like name, addresses, and contact details, as well as the type of company and the last time that you mailed publicity or made contact.
33. Swot up
Whenever you visit a potential client with your portfolio, arrive a few minutes early. This gives you a little time to sit in the reception area browsing their bound copies of recent publicity or magazines they publish. A little knowledge can go a long way..
34. To the point
Be patient, explain your work carefully but don’t outstay your welcome. Most designers, art buyers and art directors will be able to give you just ten to fifteen minutes. Make this time count, keep focused on the work you want them to see and be ready to exit!
35. Taking notes
Take a notebook to every meeting with a client. Take notes if you need to and if they like your work, ask them to recommend commissioning designers that you could visit at other companies. Word of mouth can be a real benefit.
36. Calling cards
Be prepared to drop your portfolio off rather than always meeting person to person. If you would like them to leave comments, provide a piece of paper taped to the side of your portfolio and remember to put fresh promo cards in too.
37. Etiquette
Keeping clients is a huge part of the job. If you are a pleasure to deal with, you are likely to get repeat business and recommendations. Nobody likes to work with a pain in the backside, however talented you are.
38. Get organized
It makes sense to join an organisation that can give you advice when you need it. The Association of illustrators helps members with issues regarding fees and legal matters. Check them out at www.aoi.co.uk.
39. Quoting fees
Quoting fees on jobs is never easy. Try to get a budget from the art director commissioning you. Ask what they’ve paid for previous work of the same scale and usage. They normally know what they want to pay.
40. Put in writing
If you need time to think about a fee, say that you will get back to them. Use the time to call fellow illustrators or the AOI for advice. Put your quote in writing and date it. Get the client to formally agree in writing to your quote or amended quote if you agree to adjust.
41. Rates
Remember, rates depend on a number of issues and it always makes sense to clarify exactly where your work will be used, at what size, the print run (if applicable) and the length of time the image is to be used for.
42. Who pays what?
A general rule of thumb is that advertising work sits at the top of the pile, fees-wise, followed by work for design companies. Book publishers run next, followed by magazines. You could create a small image for an advertising campaign that pays 1000 and the same size image for a mag that brings in 100!
43. Large jobs
With large jobs it is worth getting a contract sorted before you even start the work. Outline the fee breakdown-with agreed amounts for visuals as well as delivery of final artwork. Put in delivery dates that are realistic. If the client wants it all tomorrow, charge more.
44. Know your rights
If the client rejects your artwork at the visual stage, you can charge 25 percent of the full fee, if they reject on completion, through no fault of yours, go for the full fee. Be prepared to negotiate, though, you may only get 50 percent!
45. Educate your client
The visuals stage is just that. It gives you the chance to show the client what you are planning on doing for the final artwork. It could show the general layout of the image as well as your ideas for how the work communicates. It is not the finished thing.
46. Terminology
Learn some technical terms. Make sure that you understand the terminology used by your client. If you are not sure what ‘bleed’ is ; ask. Don’t try and wing it-it will end in tears.
47. Questions
Make sure that you leave the briefing session with all of your question answered. If not, call the client when you get back to your studio. It is vital that you understand what you are being asked to do.
48. Format
Check what format they would like to receive the work in, and whether it’s EPS, JPEG, be sure they can open it. Check the resolution it is expected in too. Understand why newspapers are different from glossy publications. If in doubt, check it out!
49. Colours
Don’t trust the colours on your monitor, check chosen color against print spec charts. Check how the job is being printed. Will all your chosen colours be easily achieved from the four-colour set? Avoid some oranges they can go mucky.
50. Fifth colours
If the job requires ‘specials’, colours printed using specially mixed colours, check the client has authorized this. Using silvers and metallic colours in your artwork will add to the print cost.
51. Correct formatting
RGB or CMYK? Be sure that you format the artwork correctly. Is the image for screen or print? Set your application up properly before you start your job. It is very simple to forget and submit the wrong format.
52. Ownership
When you are commissioned to create an illustration, you sell the rights for its reproduction, unless otherwise agreed. The illustrator retains the ownership of the artwork itself as well as, more importantly with digital work, the copyright. Remember this!
53. Copyright
You can charge 100 percent of the original fees for the sale of the copyright but then lose any rights to the work. Make sure you consider the pros and cons.
54. Taxing matters
Get legal: register your business with your local tax office. You are likely to be classified as a sloe trader and will have to start paying tax on your profits. Get organized right away!
55. Employ an accountant
The best practice is to be recommended one that understands the job of the illustrator. They can then advise on tax deductible items to keep your tax liabilities down.
56. Keeping track of invoices
Invoice work as soon as it is completed. Make sure that your invoice includes all of the details of the work carried out and who you’d like the cheque made out to. And where you would like it sent to, of course.
57. Numbers
Legally your invoice must carry an invoice number. You can start the running order at any number. You may wish to start at 00100 so that you look like you’ve been trading longer.
58. Chasing payment
It is likely that your invoice will sit on a couple of a desk before it is finally paid. State your payment terms on your invoice and start chasing, on the phone, as soon as that period is up. Start with the accounts department and work your way up the food chain, if you get no luck.
59. software police
Software should be street legal and legit and you should use only fonts that you own. The software police are watching you!
60. Studio space
The life of the illustrator can be lonely. Are you the kind of person that enjoy working on your own in the back bedroom at home? If not, consider a shared studio. Scan local newspaper for studio space. Shared facilities mean less financial outlay.
61. Equipment
Get your studio equipped. You will need the following: phone; answer-phone; mobile phone; email (with ADSL or ISDN if you are sending artwork down the line); fax( if you produce visuals on paper); CD Burner (archive your work as you go); good lighting and a very comfortable chair.
62. Make a routine
Get into a routine. Arrive at your studio, at home or elsewhere, at a regular time. Forget the world a daytime TV and instead, tune into reality of checking your email, reading your post, chasing unpaid invoices and other associated tasks before you actually start illustrating.
63. get insured
Get your studio insured. Get your portfolio insured and insures yourself against injury-it’s unlikely but it may happen. Studio insurance covers you if visitor falls and break a leg and having your portfolio insured means that if it goes missing, you get some financial remuneration.
64. your computer
Think about the kind of computer you are going to be using. A desktop machine tied to your desk in your studio five miles from home may not be ideal if you tend to do your best work late in the evening. You may wish to go portable and have the flexibility of working anywhere.
65. the design press
Read the design press on a regular basis for news about projects that design companies are involved in and news of new companies starting up. You don’t have to buy them all- get back to borders or your local library.
66. change of address
If you move studio, make sure that people know. A change of address card is a good excuse to send out more promotional material. Obviously, if people don’t know how to get hold of you, they won’t.
67. keep creative
Push your work by adding to your portfolio, with work that you want to do rather than just work you are paid to do. You can lead the type of work that you’re offered by showing similar examples.
68. visit exhibitions
Look at the work of other illustrators as well as artists and photographers. Examine the methods and techniques, as well as the ideas, in their work. It’s a good idea to buy exhibition catalogues, or postcard if your budget is limited.
69. read more fiction
As an illustrator, you are expected to bring text and copy to life. If you read more and create thumbnail sketches of ideas in response to these texts, you’ll keep in practice.
70. just the facts
Read more factual and non fiction work. Illustrators need to understand the issues raised in a writer’s text. If you get to grips with the copy, you stand a far chance of illustrating it well.
71. other art forms
Go to theatre and the cinema; engage with dance or opera. Above all, enjoy other art forms. You can take inspiration from all sorts of sources-anything from new combinations of colours in a theatre costume to the framing of particular images in film. Be inspired!
72. sketchbook
Draw, draw and draw and the draw some more. Take your sketchbook everywhere and use it in cafes, bars, on the bus and in the park. If your work doesn’t rely on drawing but concentrates more on photographic imagery, then keep your camera with you all the times.
73. behind the scenes
Get yourself invited to exhibition private views and meet other artist and illustrators informally. Normally getting onto a mailing list for a gallery is as simple as phoning and asking.
74. local groups
Check out local groups run by the Association of illustrators that meet on a regular basis. Many groups invite professional illustrators to give slide lectures about their work and experiences; learn from others.
75. smell the coffee
If you find that you’re really short of work, offer to work as an assistant to a busy illustrator or illustration studio free of charge for the experience, and to pick up more tips. As a general rule, you’ll make coffee, mix paints, book couriers and hunt for reference materials.
76. competitions
Use dead time to produce work for competitions. Real dividends can be had from winning or being a finalist in illustration competitions. You can get your work recognized and seen by others. Unknown illustrators often come to prominence this route.
77. network
Make the time to meet other illustrators on a regular basis and swap stories, contacts and advice. It is vital that you keep in touch with developments in the illustration world. From a morale point of view, it is good to have a shoulder to cry on and an audience for your positive stories too.
78. doing business
Illustration agencies are businesses. To operate, they have to make a profit. This means that they must represent busy illustrators and plenty of them. If you are not happy being part of this business, go straight to the next session…
79. Want an agent?
Investigate the agencies that are out there: they all have different areas of expertise. Hunt out the one you and your work are most suitable for. Be sure that they operate in the areas of illustration that you do.
80. agent’s fees
Be prepared to give up 25-30 percent of your income in commission but recognize that agents can command higher fees. This may well make up for the commission. If you are lucky enough to be taken on by an agent, check what percentage they take first. Feel free to negotiate.
81. take your time
Just like clients, agents are very busy too. Don’t hassle but be polite. Offer to send samples and wait to hear back. Offer to visit ; they will want to meet you if they like your work.
82. How do they operate?
Ask the agent that you meet about their techniques for getting artist’s work. Do they rely on printed publicity? Do they have a website? Do they go out and tread the streets with portfolio? Are they proactive?
83. What does it cost?
Agents charge (on top of commission) a percentage of the cost of advertising an artist. Make sure you understand how much this may cost you in your first year. Can you afford it? Do they want the cash up front or will they take it from fees owed to you? Check the details.
84. meeting
Ask about meetings for the illustrators represented by the agency. If they happen regularly, it means that they have happy artist, which is a good sign. Its is useful to have a meeting point to discuss issues with other illustrators.
85. sole representation
Agents may expect to have sole representation of your work. They may want to handle your own clients too. Are you prepared to hand them over? Another point to discuss before making a final decision.
86. thinking long term
Think carefully about how you present your portfolio at any meeting. Agents will be interested in who you have worked for, as well as how your work has developed. They will be thinking long term investment. Think the same thought!
87. up front
Agents don’t tolerate artists working for the agency’s clients without declaring it. Some clients are slippery. Don’t make the mistake of losing your gent because you have been working behind their back.
88. permanent contracts
More and more design companies are starting to employ illustrators or designers that can illustrate on permanent contracts. Check the design press for ads and be prepared to send samples and CV at short notice.
89. publishing companies
Approach publishing companies and greeting cards companies if seeking full-time positions; they are still the most likely. Write a covering letter, introducing yourself and your experience and expertise and be prepared to follow it up with a phone call.
90. interview techniques
If given an appointment or interview, be on time, be presentable and know as much as you can about the company. Ask intelligent questions and be keen. All fairly obvious tips but easily overlooked by some.
91. temporary placement
Offer to work on a temporary placement basis to gain experience. This is a must if you are a recent college graduate. In return for poor payment, you will get good experience and hopefully a project or two you can add to your portfolio.
92. model employee
Once on a placement, demonstrate yourself to be so good they have to ask you to stay. Don’t complain about working long hours-it is the done thing in design and advertising. Get yourself noticed, ask questions and offer to help others out with presentation.
93. illustration agency
If you want to go into freelance illustration but would like to understand the business in more detail first, try seeking a job at an illustration agency. You’ll meet lots of illustrator and clients and see projects through from conception to completion.
94. studio management
Other areas to try your luck at include studio management. Be the person responsible for keeping a design studio running. You could be involved in all aspects of the design process; one moment discussing project with designers, illustrators and photographers and the next checking proofs on press at the printers.
95. contacts
Keep a record of all contacts while looking for work and after you get the job. These will prove invaluable. All designers and illustrator have favourite printers, repro houses; places to source references and the list will start to grow. Use your contacts and keep them organized.
96. follow it up
Make sure that your client is pleased with the work that you have produced. Many designers are simply too busy to call to let you know that they have receive your artwork. Phone them to check that the work was ok, they’ll appreciate it.
97. borrowing work
Don’t ‘lift’, ‘copy’. ‘borrow’ or be too influenced by the style of another illustrator. Forge your own look; it is the only way to create real lasting interest in your work. Be original.
98. Credits
Make sure that, were possible, you are given a credit for a illustration. If you have a web address, ask the designer to use it in the credit. It will add to the traffic to your site and may lead to further commissions.
99. Building your portfolio
Chase up copies of the work when it is in print. Do this as soon as the publication is out. The art director or designer should be happy to send you three or four copies. These tear sheets will make up your portfolio.
100. sticking to deadlines
Produce work to the deadline given, unless you have an agreed extension. If the deadline appears unworkable, ask for more time before you take on the job. If you spot problems, resolve them early on.
101. And remember….
Have fun, work hard, play hard and good luck.
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