Comments on: How to become a successful Illustrator

By: Michel Lagarde

Michel Lagarde — Wed, 16 Dec 2009 12:21:12 +0000

That’s a very good point of wiew,the same for me in Paris,and the same in all other the world.Merci Anna pour ces bonnes paroles et cette energie positive.
Best regards. Michel

By: Anna Goodson

Anna Goodson — Wed, 16 Dec 2009 12:20:41 +0000

Hi Michel,
How are you? Its been a while.
Thanks for your comments.
Hope all is well at 002.

By: Dave Tabler

Dave Tabler — Wed, 16 Dec 2009 12:20:08 +0000

Emerging artists are so lucky to be able to tap your brain like this! Pre-web if a young artist didn’t already have access to a rep via one of their school professors, etc. this type of information just was not available to them. By telling them like it really is out in the field you save many of today’s talents the suffering of spinning their wheels without understanding how to change.

By: Jeff Miracola

Jeff Miracola — Wed, 16 Dec 2009 12:19:39 +0000

I concur with Dave. I started my career in illustration about the time the Internet was introduced. Before that, while in college, Art reps were a bit of a mystery to us all. Some claimed to have seen a few, but noone ever seemed to catch one in a net! So there was no way to get inside the mind of a rep, short of cold-calling one or being lucky enough to meet a pro artist that had a rep and could spill the beans about them. So, it’s great that you share as much about the biz as you do. It helps pros and students alike.

Another point I’d like to add though is to check your ego at the door (if you have one). The world of illustration, while so global now, is really a small business in terms of people. If you get the reputation for being difficult to work with, ie never wanting to make changes to art or dismissing deadlines, then it won’t take long before you can’t find any serious clients to work for.

By: Anna Goodson

Anna Goodson — Wed, 16 Dec 2009 12:18:59 +0000

Hi Jeff,
That is a really good point about checking your ego at the door. No one wants to work with a someone who has a big ego no matter how good they are.
I think that attitude is also big part of being professional. I am happy to help out as much as I can. I feel that the experience I have acquired over the years in the business, is there to be shared.
There are a lot of people out there that know a lot more than me and have been in the industry longer. But if I can help then great!

By: Sam Hepburn

Sam Hepburn — Wed, 16 Dec 2009 12:18:27 +0000

Very interesting article. First time I’m reading about ‘art reps’ actually! Seems like a whole other world. The ego thing is certainly a huge point. I guess you should always keep in mind that opinions are subjective and there could be many reasons why you don’t get picked up as quick as you’d hoped. So perseverence definitely comes in there, too. Thanks for the read, Anna.

By: David

David — Wed, 16 Dec 2009 12:17:53 +0000

I agree with your comments, working as an illustrator is a difficult profession (like all), but the best advertisement is herself … it is very important to have a website or blog updated because customers will not have the patience to wait days to see your work by better than this is.
The only difficulty that I found to work as an illustrator was the existence of illustrators who are preferred by Art Directors with little knowledge of esthetic art, that has caused many of the books or local editions (Peru) will have the aesthetics of the past 20 years without major change … Finally!, someday that will change, Congratulations Anna for the comment!

By: George Coghill

George Coghill — Wed, 16 Dec 2009 12:17:17 +0000

Some nice tips here Anna, thanks for sharing. I’d like to know more about your thoughts on social networking and promotion.

At times I feel the social networking sites lead more to connecting with other artists rather than generating new work (which is in itself a great thing). How do you as a rep use social networking, and what sort of specific examples can you give to us illustrators out there as far as effectively promoting ourselves online?

In regards to other types of promotion, it would be great to have some insight — again from your angle on the biz — as to how an illustrator can best go about this. Specific examples would be excellent.

You mention “stay fresh, keep current, look busy, enter contests, etc.” however these are a bit vague. How do buyers and reps search for new illustrators? What sort of things attract — and repel — you from a certain artists work and/or promotional methods? What’s the percentage of illustrators you’ve found vs. the ones who’ve contacted you? What are some specific resources an illustrator should be using to get the word out?

And when one is getting the word out, in your opinion what is the best method? You mention postcards don’t have the same effect they used to, but also say that printed promos are a great way to get the word out.

Thanks again for sharing, and sorry for the barrage of questions

By: Amber Whitney

Amber Whitney — Wed, 16 Dec 2009 12:16:40 +0000

Hi Anna,

Thanks for the great post, I also agree with Jeff about the ego, though I’ve found a lot of really great illustrators that I admire are wonderfully humble, especially my talented peers at MCAD.

I’ve been reading your blog for a while and watching your agency and it’s really a wonderful example of what art reps should be like, I think. I too have been very surprised finding very ‘web 1.0′ sites out there that look like they haven’t been updated since 1994 from other agencies, even though the illustrators they represent are amazingly skilled.

As a recent graduate of MCAD I know that I’ve been feeling rather lost about ‘how to become a successful illustrator’. There’s such great advice all over the web and even though the agents I’ve talked with have been interested, a lot say that the recession is really holding them back, which is unfortunate for myself and other new graduates out there. At the same time I’ve been getting odd jobs that require me to work in styles that I wouldn’t particularly put into my portfolio. I know that I would really like to hear your opinion on the balancing act of getting ‘odd jobs’ that require a predetermined or generic style versus a more personal and illustrative style fit for things like books and magazines.

By: Miguel

Miguel — Wed, 16 Dec 2009 12:15:59 +0000

Great suggestions, every illustrator and student should know that and sometimes nobody tells us . It’s good to know what agents are thinking of.

I’m a little shock though to hear that you don’t see books anymore and that they’re expensive for what they are worth. wow . that will keep me thinking for a while…

I’ll link the article if you don’t mind…

thank u!