By: Christina Ann Rodriguez,
on 10/10/2014
So this week was very exciting!! I signed with an agent! I will now be represented by Wendy Lynn & Co.!!!! I'm so happy and hope this just leads to great and amazing things!! I'm just going to keep plugging away and climbing that ladder. :)
(Illustration by Frank Hansen)
In response to requests from the EFII Community, I’ve been discussing the topic of artist representatives all week. So far I’ve talked about things to consider when thinking about working with an art rep, how to find one, and how to be attractive to him or her.
Today I’d like to share a real-life example of what a positive Art Rep relationship looks like.
I think it’s always beneficial to speak with our fellow artists to learn more about the industry and the many ways to operate within it, so today I’ll be using a real-life “case study” in order to explore the current topic a little further.
You may remember Penny Dullaghan of Illustration Friday speaking fondly of her agent on Episode 6 of the EFII podcast. I’ve asked her to elaborate and talk about why her arrangement with her art rep works.
Here’s Penny’s Story:
I started collaborating with my rep, Scott Hull, in 2005, and it has been a great relationship thus far. I think a lot of that can be attributed to mutual respect, honesty and growth. I really admire Scott’s ability to talk to people on a familiar level (he always seems to know someone and he makes friends easily) and his straight forward methods as far as pricing, timelines and contracts. I offer my input, of course, but mostly I don’t have to worry about any of that stuff because he’s so good at it. And that frees me up to just focus on the art. Scott also comes to me for my ideas and thoughts on projects, promos and developments, which is really nice. I feel like I am part of the process.
Honesty is a big part of it too. He is up front with me on what’s going on business-wise and in the industry, good and bad. And what pies he’s got his thumbs into. And I am honest about what I am comfortable with as far as projects (timeline, type of client, etc), and also when I am working on projects that he’s not involved in. It helps that there are no places you can’t go in conversation.
And lastly, growth. We’ve grown and changed as a team over the last few years. He asks me where my interests lie and what I want to pursue and also shares his thoughts on other possibilities. He’s stuck with me as my style has changed and developed. And even encouraged me to keep evolving and playing. It really works.
Thanks to Penny Dullaghan for sharing her story of what seems like the ideal type of relationship to have with an art rep. I’ll be posting more case studies like this one in the future, and applying this format to other topics as well.
Do you have a story about a positive art rep relationship? Please share it in the comments section of this p
Do you have what Art Reps are looking for?
In your search for an Art Rep, it is important to remember that Art Reps are searching for the same things that Art Directors seek out when hiring an Illustrator for their next project. This is because agents are in the business of connecting connect their artists with the right clients, which requires a solid understanding of the industry and a history of building lasting relationships with Art Directors and Editors in their area of focus.
The good news is that this means that you are able to apply the same marketing techniques with art reps as you would with potential clients, because you can understand their needs.
Marketability
Ultimately, representatives need to collaborate with artists whose work is marketable to the pool of contacts within their area of specialty. Whether or not they appreciate your art on a personal level, they need to be able to secure projects for their Illustrators in order to make a living, and one way that they accomplish this task is to be selective about the artists they work with.
In order to be marketable, you need to not only have a healthy dose of talent and skill, but also a style and approach that is relevant to your target market. If you possess these qualities, then you’re off to a good start, both with Art Reps and Art Directors. Ideally, you’ve already been heading in this type of direction in your efforts to seek out and acquire more work on your own.
Consistency
It always makes you more attractive as an artist if you can show a consistent, clearly-defined voice. Just like clients, art reps need to know what to expect from you if you are assigned to a project. Otherwise, they’ll have nothing to promote. Consistency also means making your overall style compatible to your target market. You won’t want to include an image of a ghoulish zombie in a portfolio geared towards Children’s Education Illustration, for example.
History
In addition to marketability and consistency, art reps want to see that you know how to work with clients, how to meet deadlines, how to deliver finished artwork, and all other tasks that are involved with a typical Illustration project.
You can show your experience through your About page, client history, testimonials, tearsheets, and other forms of proof. Again, these should all be elements of your portfolio anyway.
Compatibility
Even if all the above requirements are met, it is still vitally important that you and your art rep are a good fit for each other, both personally and professionally. You don’t have to be best friends forever, but you need to be able to share trust, respect, and a certain level of camaraderie in order to work together effectively. After all, you are both seeking a mutually beneficial relationship, and the ability to understand each other and work together well will help to make that happen.
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What’s your experience? Please share your thoughts in the comments.
Illustration by Frank Hansen. Find out more about Frank here
Great post Thomas. Penelope and Scott seem to be an artist/rep match made in heaven. It’s great to know what to look for in a rep, thanks!
Agreed, Weylon. Penelope’s story paints a perfect picture of the dream rep. Thanks for your comment.
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