If asked whether I would ever use an artist rep or not I would have to give a solid...maybe. Really it depends on whether I feel like my work can sort of "sell itself" well enough that I can let my portfolio speak for me when I'm not present. Of course a rep would be doing the speaking as well, but I would feel more comfortable letting him represent me if my work had a louder voice in the matter. Basically I would want my work to be something worth representing. That is what I would consider before trying to get a rep.
There are plenty of small time jobs that you can get simply for money. There is no shame in taking jobs outside of your interest, so long as they are profitable and they allow you to work on your portfolio work on your own. Jumping into the illustration wold unprepared could land you a bad reputation if you aren't careful. Personally I would take low profile jobs and build my portfolio on my own time before trying to tackle the big jobs that I really want but aren't yet comfortable with. An artist rep would not be the first priority for me coming out of school. I would actually rather fumble my way though the business aspect for a while to get an appreciation it. That way I don't become dependent on a rep, and less likely to cling to an unhealthy relationship if that is how things turned out. After deciding that it was appropriate to get a rep I would want to research which reps deal with the kind of work that I made and how to get their attention.
I found a post online about becoming attractive to representatives. After all if you don't even impress the rep how are they going to present you to clients? Among the things it talks about is marketability. It's not just about how versatile you are, but how relevant you are to your target market. Say that your style deals in realism, yet your work deals primarily with children's books. You might find that your work stands out...but not necessarily in a way that will help sell children's books. Seems straightforward but I have seen people dead set on landing a job in a niche, when their work isn't really suited for it.
After deciding whether a rep is right for you consider what they have to offer. A good rep can help you develop your career in ways not always available to you on your own. Some clients may deal solely with representatives who have an array of illustrators in the area they represent. Taking time to look at the work of an up and coming artists portfolio might not be the first course of action when a rep is giving a company professional recommendations based on hand picked illustrators. A rep can land you a relationship with a client who might not have taken a look at your work otherwise. Good reps also know the right clients to seek out to give you a good resume and good experience, as opposed to just finding jobs based on pay or availability.
Saturday, January 28, 2012
RFP: My Two Cents.
A request for proposal is an interesting subject to me. I find it to be a useful tool because it allows one to in a sense, go shopping for clients. Of course at the same time the clients are shopping for illustrators/designers when the put one out. This differs from the normal way I am used to freelance work. In my past experience jobs come when someone you know knows a guy who is looking for an illustrator to do X. Otherwise someone recommends you to the person and they email you about it out of the blue.
Now don't get me wrong, these kinds of jobs are great, and they give you exclusive access to jobs that other designers my not even be aware of. It also is a bit of an ego boost when someone recommends you. The downside though is you don't always know what you're getting yourself into. The terms of the job aren't always spelled out, and sometimes you get far into negotiation before realizing you don't want to work with the client or the terms aren't satisfactory. It's also harder (for me anyway) to turn down someone who came looking for you, or who you contacted yourself.
What I like about RFPs is that they put everything on the table. You can look at a database or hear about such-n-such job and then go look at the RFP. You can decide whether you want to take on the job before you contact anyone, so you don't have to feel like you are turning down a client. Besides that businesses that put out an RFP give a more professional feel, and seem more likely to adhere to terms. Though an RFP does not guarantee that a client is more professional than someone who contacts you out of the blue, it gives you a chance to research them before making contact, so you can hopefully choose clients that are more business oriented.
A more business oriented request that deals in specifics leaves you more room to make clear what services you provide. Telling a client the difference between a designer and an illustrator and why the terms and rights for each are different can be a hassle. Clients who aren't used to working with designers/illustrators may feel that they are trying to pull a fast one on them when they get into the legal technicalities.
Now don't get me wrong, these kinds of jobs are great, and they give you exclusive access to jobs that other designers my not even be aware of. It also is a bit of an ego boost when someone recommends you. The downside though is you don't always know what you're getting yourself into. The terms of the job aren't always spelled out, and sometimes you get far into negotiation before realizing you don't want to work with the client or the terms aren't satisfactory. It's also harder (for me anyway) to turn down someone who came looking for you, or who you contacted yourself.
What I like about RFPs is that they put everything on the table. You can look at a database or hear about such-n-such job and then go look at the RFP. You can decide whether you want to take on the job before you contact anyone, so you don't have to feel like you are turning down a client. Besides that businesses that put out an RFP give a more professional feel, and seem more likely to adhere to terms. Though an RFP does not guarantee that a client is more professional than someone who contacts you out of the blue, it gives you a chance to research them before making contact, so you can hopefully choose clients that are more business oriented.
A more business oriented request that deals in specifics leaves you more room to make clear what services you provide. Telling a client the difference between a designer and an illustrator and why the terms and rights for each are different can be a hassle. Clients who aren't used to working with designers/illustrators may feel that they are trying to pull a fast one on them when they get into the legal technicalities.
Saturday, January 21, 2012
My Favorite Company: Gainax.
Gainax Company Limited, 株式会社ガイナックス, Kabushiki-gaisha Gainakkusu, or simply Gainax, is my favorite company. What do they make you ask? Animation of course. They are a Japanese company that produces original stories and cutting edge animation. They have been known to set the animation market in Japan with their aesthetic and deconstruction of various genres. So much in fact that many Japanese animated shows produced in the 90s were merely rip-offs of Evangelion, one of their most famous works.
The thing I like most about Gainax is that it doesn't follow trends in the genre; it sets them. Evangelion was a famous deconstruction of the mecha genre, which showed the psychological impact and horrible consequences of a post apocalyptic giant robot scenario. Years later, after forever changing anime into something darker and grittier than it was Tengen Toppa Gurren Lagann reconstructed the deconstruction, showing that if you put the characters back on their meds so to speak, then everything doesn't have to go to hell. They have been known to have endings that defy audience expectations, for better or worse, hence the term "Gainax ending." Hell, their recent work Panty and Stocking with Garterbelt is as messed up as it sounds and shows just how little they care for following conventions and standards. Above all I like that they aren't afraid to break the genre, step on toes, and do whatever it takes to make a good story and do it with style.
Thursday, January 19, 2012
What is a man? A towering pile of drawings? But enough talk! Have at you!
When asked why I chose to pursue Graphic Design I always try to answer truthfully. At first I came to Watkins College of Art, Design, and Film under the banner of fine arts. I grew up drawing a lot and getting recognition for it, so illustration seemed to be a logical transition after high school. Knowing that Graphic Design was more profitable, I initially decided to pursue fine arts because I thought it would allow me to make the kind of things I would enjoy. Sadly this was not the case.
Fine arts seemed to focus on making art for art's sake, or otherwise art for the sake of the artist expressing themselves. This is all well and good. I however am more business oriented. I prefer to be working for a client. Only after I have fulfilled the needs of a client and made an impression do I feel accomplished. After all what good is there in making work only to please oneself? Anyone can accomplish that easily simply by having low standards. Call me what you will but I like to work for others. I just feel more motivated that way.
As for my aspirations after school I would like to work for a design firm, freelance, work as a concept artist for an entertainment company (film or video game), start a small design group, and teach computer studio while still freelancing. Preferably in that order. I have no interest in retiring, but would like to spend my old age just making whatever I want while freelancing and traveling so that I don't get too sad when I get closer to death. I have no illusions about becoming famous, but would accept it if it were to happen. I instead strive to be an elite mediocrity so that I can live in peace and enjoy life and whatnot.
Fine arts seemed to focus on making art for art's sake, or otherwise art for the sake of the artist expressing themselves. This is all well and good. I however am more business oriented. I prefer to be working for a client. Only after I have fulfilled the needs of a client and made an impression do I feel accomplished. After all what good is there in making work only to please oneself? Anyone can accomplish that easily simply by having low standards. Call me what you will but I like to work for others. I just feel more motivated that way.
As for my aspirations after school I would like to work for a design firm, freelance, work as a concept artist for an entertainment company (film or video game), start a small design group, and teach computer studio while still freelancing. Preferably in that order. I have no interest in retiring, but would like to spend my old age just making whatever I want while freelancing and traveling so that I don't get too sad when I get closer to death. I have no illusions about becoming famous, but would accept it if it were to happen. I instead strive to be an elite mediocrity so that I can live in peace and enjoy life and whatnot.
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