-
-
- GROW
YOUR OWN PORTFOLIO
-
- This
is what art directors and designers look for in a
portfolio:
-
- The
ability to draw well, and a good, distinctive style.
If you are aiming for a large, well supplied market
you should probably specialise in one or two
recognisable styles. For smaller markets where there
are fewer illustrators it can be an advantage to be
more diverse in your range.
-
- Published
work always helps, as long as it is of a good
standard. This shows the art director that you have
succesfully interpreted a brief, delivered the artwork
on time and so on. If you have no published work,
brief details of a project succesfully undertaken, or
of exhibitions of your work might help. Keep it short;
most designers have limited time to look at
portfolios.
-
- Keep
your portfolio to a maximum of twenty of your best
pieces. (at least twelve) If you feel something is a
little ropey, it's better not to put it in. If you
know anyone in the design field, ask their opinion of
the portfolio. If not, ask a friend who's not afraid
to offend you. Remember your own opinion is also
important, as you are the one who'll be showing the
work. Make sure it's neat and well presented. Avoid
fancy presentations; It's usually best to show work on
the regulation black backing in plastic
sleeves.
-
- KNOCK
ON WOOD
-
- The
best way to get work, the mighty internet
notwithstanding, is to knock on doors. You need a list
of designers or art directors in the field you are
aiming at. I find the internet very useful for finding
indexes of publications, design companies etc. (Yahoo
is probably best for this, as you can narrow down to
the area you want and avoid irrelevant search
results). Phone those designers within commuting
distance, and arrange to show your work. Make as many
appointments as you can, before your nerve runs out!
The first few you see will be able to advise you on
your portfolio, if you ask them, so you can refine it
for subsequent visits. (If there's someone you'd
particularly like to impress, leave them for later,
until you've had some feedback on your
work).
-
- Always
bring a card or drop-in. An A4 colour copy of one or
two of your best pieces, with your contact details, is
ideal. After a few visits, you'll discover which
pieces are getting the best reaction. Use these on
future drop-ins.
-
- If
someone seems interested in your work, take a note of
which pieces they like, and send them colour copies
afterwards. Always include your contact details. Keep
a record of who you've seen, and what their reaction
was. Phone them from time to time. Your first job for
a client will often come because you happened to phone
them just as they were scratching their heads over who
to use.
-
- Finally,
when you get that first briefing, don't be afraid to
ask questions. A designer would prefer you understood
everything clearly, rather than coming back with
completed work that is unsuitable.
-
- KEEP
UP WITH THE JONESES
-
- Communication
Arts
Magazine is a very useful resource, especially if
you're in the US. They regularly carry articles on
subjects relevant to freelancers, and produce an
illustration annual which is seen by designers
worldwide. Their website gives details of how to order
the magazine if you can't get it locally.
-
- Creative
hotlist
is a new contact service from Communication Arts where
you can post your portfolio and/or resume free of
charge and also search employer opportunities. There
is a plethora of such sites on the web these days,
some better than others, but this one looks like it
will be good.
-
-
- CHILDREN'S
BOOKS
-
-
- WHERE
TO START
-
- Have
a good look throught the children's section of a good
bookshop. Pick out some of the books that appeal to
you most. It's worth buying a selection of them if you
possibly can. Try to work out what you like about the
stories and the illustrations, and why you think they
work so well. It's also useful to take note of the
publishers who produce the kind of books you
like.
-
- WHAT
TO SHOW
-
- Most
publishers prefer to be presented with a package which
includes a story and some sample illustrations. If you
don't have a text of your own you should try to hook
up with a writer and develop a story, although sending
samples of your best illustrations to publishers never
does any harm, and they will usually keep you on their
files if they like what they see.
- It
may be worth your while to take a favourite story and
do a couple of illustrations for it in your own style,
if you don't have a story of your own to illustrate. A
series of four or five illustrations on one theme
gives a publisher a good idea of your approach to a
narrative, and your handling of characters. Make sure
you arrive at a character that you can draw
consistently.
-
- THE
WHOLE NINE YARDS
-
- The
biggest children's book fair in the world is held in
Bologna, Italy in April of every year, featuring
thousands of children's book publishers from all over
the world. A visit to the Bolognafiere is the best way
of meeting hundreds of potential publishers in a few
days, but you should book accomodation and flights at
least six months in advance!
- Failing
that, you will find details for entering your work for
the Bolongafiere exhibition at their permanent
website....here.
The Bolognafiere organisers produce two annuals of
illustrations from their exhibition each year (fiction
and non-fiction), and a catalogue of all the
participants which is probably the single most
comprehensive list of childrens book publishers you
can get. It's worth getting at least one of the
annuals and the catalogue if they're still available.
The catalogue itself gives a brief description of the
kind of books each publisher produces, and the names
of editors etc. You can cross-reference it with the
annuals to select a shortlist of publishers you are
interested in. The books are not cheap, but remember
that it's a waste of your time and money to send off
samples to publishers who don't produce your type of
book.
-
- A
WORD OF CAUTION
-
- Finally,
a word of caution: the world of children's publishing
moves about as swiftly as a legless brontosaurus in
soft sand. It could take two or three years for your
first masterpiece to appear in the shops (it may be
quicker if you are lucky enough to be teamed up with a
completed manuscript from an established writer, but
you can still count on at least a year from starting
work to publication). Don't give up the day job just
yet.
-
-
- Feel
free to copy and keep the
aforegoing.
-
To reproduce
this article in print or electronic media, please contact
me first.
|
