You Don’t Need An Art Rep
(Illustration by Thomas James)
Many Illustrators think that getting an Art Rep is the key to a successful career. However, it’s simply not the only way.
I’m sure we’ve all had this thought from time to time: “My life would be so much easier if I could only get an art rep. I would get the jobs I want, make more money, and maybe even be famous.”
I once had this mindset myself, and I still hear a lot of my fellow artists saying some variation of this comment. The thing is, this can be dangerous if an Illustrator places too much importance on acquiring representation and not enough on being the best Illustrator they can be.
Disclaimer
Don’t get me wrong, I love Art Reps. Several of them have joined me on the Escape from Illustration Island podcast, and there will be more of that in the future. Furthermore, an ethical, hard-working artist representative provides valuable services when it comes to promotion, negotiation, and many other aspects of running a freelance business. Finally, even with the ideas that follow, I would still be open to the possibility of representation with the right person.
That being said, I’ve seen too many artists place way too much importance on representation, which can potentially lead to one of two things:
1. Getting a second-rate Art Rep who does nothing to further an artist’s career.
2. Feeling defeated by the lack of an Art Rep, second-rate or otherwise.
That’s why it’s important to remember that while Art Reps can be a useful tool for creative professionals, it’s not necessarily healthy to make acquiring one an end goal for its own sake.
Be Your Own Art Rep
There was a time when having an Art Rep really did make a huge difference in terms of escaping obscurity and getting your work in front of the right people.
Those days are over.
With the mercurial spread of the internet, and online promotional tools, it is increasingly easier to run your own effective marketing campaign, build your brand, and reach your target audience.
I’ll go one step further by saying that I see more artists these days doing a much better job with creative online promotion than some Art Reps who still cling to outdated models or scramble to figure out the whole social networking thing.
The fact is, artists are becoming more business-savvy, and walls that once stood between Illustrators and potential clients are crumbling down, reducing the need for gatekeepers and inside contacts. What’s more, many Illustrators are currently reinventing an industry that is long overdue for innovation and cutting-edge approaches to making a living by doing what you love.
So, while Art Reps can be helpful, they’re simply not the only way.
You can do it all yourself.
So, if you’re looking for an Art Rep to take over certain parts of your business, help you promote yourself, and do the sometimes difficult work of negotiating contracts, by all means do so.
But don’t make it such a priority that you discount your own ability to make an impact as an artist.
Related Posts:
- Should You Work with an Art Rep?
- Is Your Art Rep Doing Anything For You?
- The Easiest Way to Determine Which Form of Promotion Works
- Art Rep 101
- The Importance of Personal Projects
- Production: The Most Important Part of Your Illustration Business
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After reading this, the question hangs in the air: How do I become my own effective art rep? I do not know what to do or where to start in that venture. Advice is welcome.
– Eric
Check out Amazon.com, there’s a bunch of great books out there on the business of illustration and how you should promote yourself
I have thought about acquiring a Rep but when I see the percentage they ask for I rather
do my own marketing.
Thomas-
I think the most important thing is to know what you want out of your career and how to promote yourself. Then if you want a rep you’ll understand the process a bit more.
With a rep you work with them. They don’t simply work for you. Too many artists get representation and expect big jobs to start coming in. It doesn’t always work that way. You still have to be active. By active I mean continue to develop your portfolio and seek out any opportunities that come along.
The more jobs you get the better for both parties (rep and artist).
Personally I think it varies depending up the artist. Some need a rep to handle the business and others are fine on their own. Then there is a large group that fall in the middle. For many a rep can give you exposure that you most likely would never have on your own.
I say all this based on experience. I was a rep at Gerald & Cullen Rapp for 10 years and am currently a freelance illustrator.
This is a good topic, one I had in mind to write on my blog too. Nice to have a reference post about that, like yours.
I also started out with having the idea in mind to get into a rep agency. After some time and a few talks later, even on a personal level, I came to the conclusion that I am better without.
Like you mentioned I only use online tools and networking platforms to make contacts and show up all time. Basically this is what reps do, show up and find solutions for the client in need. My work is online 24/7 and that cut of percentages a rep gets can save a client to spend on my work and expertise.
I think it depends on the attitude of every individual. If you want to concentrate on your work and if the marketing, networking, billing stuff scares you away its possibly better to find a rep.
Like the music industry, the visual communication business has changed. The big record labels are dead. Pushing your artwork (or music) on a customer doesn’t cut it today. Customers want to feel THEY found you. That they can trust you. That you are an extension of them and not a disconnect or unbalance. Can a rep help with this? Is there a new type of business partners for illustrators?
My questions to the illustrators: What do you want from your career in three years? Why does a customer need you? What do you hope to gain from a rep?
Answer these questions then build your business team.
Thomas – how would I, as an idependent illustrator, establish connections with all those art directors and editors the reps already work with?
Hi Dave. That’s a good question, and to answer that I would point out that Illustrators do it every day. In fact, there are many artists who have led long and successful careers without ever having an art rep. Building relationships with a target market of Art Directors and Editors is a career-long process.
For those geographically outside a mecca like NYC, SF, Chicago, Portland, the challenge is greater. It shouldn’t make a difference, but it does. I know, I’m trying to crash the party from the remote cultural wasteland of inland Southern California. Making gradual inroads on my own, but I can’t help feel a helping hand from a rep would move things along faster.
There are two parts in this matter. The artist and the buyer.
In scandinavia it is commom for the advertising agency’s to contact freelance illustrators directly, when they need something drawn, and not use an art rep. Therefore many illustrators are representing them self. As we are.
But we get the feeling that abroad, it is almost impossible to get any kind of job without having some art rep.
So could it also have to do with culture, and the fact that being around helps a lot.
We would love having clients from outside our own country, but we find it very difficult to get in touch, and getting feedbacks, with potiential clients.
Surgestions on how to deal with this matter will be most appriciated and read with interest.
I was (hopefully) known as a reputable artist agent for 22 years. I retired at the close of 2009. I agree with everything Thomas has posted.
Sharon Langley
Langley Creative
now known as:
Blasco Creative Artists
I’m sure we all could say that we’ve needed guidance at some point or that we’d give anything for a project to fall into our lap during a slow week. I believe that having an art rep is only a portion of the artists promotional plan. I’ve read that most artist workloads derived from reps are less than 50%. I find my situation to be more like 25-30%. And this works for me because I actually enjoy pushing the promotional wheel and getting my own gigs. Promoting yourself is all part of the illustration game. As with a lawyer or a even a plumber–there are good reps and bad reps. Finding a good rep can be difficult. If that part of the plan falls into place, then the artist has to build a relationship with them–working along side the rep on promotional materials. Learning to sell yourself and discovering what works (and doesn’t) comes with experience–as with any career. During my (way to many) years as a creative director I always preferred to talk to the artist directly (due to timing). Artist to artist–this eventually happens but not without a little back and forth emailing or phone calls. My rep is awesome…do I need a rep?…no…If I didn’t have one would I be looking for one?…yes.
When I’ve felt bummed about art reps not noticing me yet, I think about what my repped friends say. “You’ll find a rep when you don’t need one.” In other words, artists need to focus on their work and getting themselves out there no matter their rep status (or lack thereof).
great post, you do need to treat yourself as a business and not as a labor of love, (alough its good to love what you do) a rep helps because if they have confidence in your ability then why shouldnt everyone else.. but to have confidence in your own abilities is the best marketing tool.. and dont sell yourself short.. this is a trade and takes years to learn like any other..