Artist Promotion Tips
Whether you’re just starting your creative career or you’ve been at it for a while, promotion is an essential part of your art business plan. You can send a postcard, email or show your art in person, but you have to get your work “out there” to find potential buyers. In the article below you’ll find advice for illustrators, cartoonists, designers and fine artists. You can also find this information in the 2015 Artist’s & Graphic Designer’s Market or on artist promotion .
Keep creating and good luck!
Promoting Your Work
So, you’re ready to launch your freelance art or gallery career. How do you let people know about your talent? One way is by introducing yourself to them by sending promotional samples. Samples are your most important sales tool, so put a lot of thought into what you send. Your ultimate success depends largely on the impression they make.
We divided this article into three sections, so whether you’re a fine artist, illustrator, or designer, check the appropriate heading for guidelines. Read individual listings and section introductions thoroughly for more specific instructions. As you read the listings, you’ll see the term SASE, short for self-addressed, stamped envelope. Enclose an SASE with your submissions if you want your material returned. If you send postcards or tearsheets, no return envelope is necessary. Many art directors want only nonreturnable samples, because they are too busy to return materials, even with SASEs. So read listings carefully and save stamps.
ILLUSTRATORS & CARTOONISTS
You will have several choices when submitting to magazines, book publishers, and other illustration and cartoon markets. Many freelancers send a cover letter and one or two samples in initial mailings. Others prefer a simple postcard showing their illustrations. Here are a few of your options:
Postcard. Choose one (or more) of your illustrations or cartoons that represent your style, then have the image(s) printed on postcards. Have your name, address, phone number, e-mail, and website printed on the front of the postcard or in the return address corner. Somewhere on the card should be printed the word “Illustrator” or “Cartoonist.” If you use one or two colors, you can keep the cost below $200. Art directors like postcards because they are easy to file or tack on a bulletin board. If the art director likes what she sees, she can always call you for more samples.
Promotional sheet. If you want to show more of your work, you can opt for an 8½×11 color or black-and-white printed image or photocopy of your work. No matter what size sample you send, never fold the page. It is more professional to send flat sheets, in a 9×12 envelope along with a typed query letter, preferably on your own professional stationery.
Tearsheets. After you complete assignments, acquire copies of any printed pages on which your illustrations appear. Tearsheets impress art directors because they are proof that you are experienced and have met deadlines on previous projects.
Photographs. Some illustrators have been successful sending photographs, but printed samples are preferred by most art directors.
Query or cover letter. A query letter is a nice way to introduce yourself to an art director for the first time. One or two paragraphs stating your desire and availability for freelance work is all you need. Include your phone number and e-mail address.
E-mail submissions. E-mail is a great way to introduce your work to potential clients. When sending e-mails, provide a link to your website or JPEGs of your best work.
DESIGNERS & DIGITAL ARTISTS
Plan and create your submission package as if it were a paying assignment from a client. Your submission piece should show your skill as a designer. Include one or both of the following:
Cover letter. This is your opportunity to show you can design a beautiful, simple logo or letterhead for your own business card, stationery, and envelopes. Have these all-important pieces printed on excellent-quality bond paper. Then write a simple cover letter stating your experience and skills.
Sample. Your sample can be a copy of an assignment you’ve completed for another client or a clever self-promotional piece. Design a great piece to show off your capabilities.
Stand Out From the Crowd
You may have only a few seconds to grab art directors’ attention as they make their way through the “slush pile” (an industry term for unsolicited submissions). Make yourself stand out in simple, effective ways:
Tie in your cover letter with your sample. When sending an initial mailing to a potential client, include a cover letter of introduction with your sample. Type it on a great-looking letterhead of your own design. Make your sample tie in with your cover letter by repeating a design element from your sample onto your letterhead. List some of your past clients within your letter.
Send artful invoices. After you complete assignments, a well-designed invoice (with one of your illustrations or designs strategically placed on it, of course) will make you look professional and help art directors remember you—and hopefully think of you for another assignment.
Follow up with seasonal promotions. Many illustrators regularly send out holiday-themed promo cards. Holiday promotions build relationships while reminding past and potential clients of your services. It’s a good idea to get out your calendar at the beginning of each year and plan some special promos for the year’s holidays.
Are Portfolios Necessary?
You do not need to send a portfolio when you first contact a market. But after buyers see your samples they may want to see more, so have a portfolio ready to show. Many successful illustrators started their careers by making appointments to show their portfolios. But it is often enough for art directors to see your samples. Some markets in this book have drop-off policies, accepting portfolios one or two days a week. You will not be present for the review and can pick up the work a few days later, after they’ve had a chance to look at it. Since things can get lost, include only duplicates that can be insured at a reasonable cost. Only show originals when you can be present for the review. Label your portfolio with your name, address, and phone number.
The overall appearance of your portfolio affects your professional presentation. It need not be made of high-grade leather to leave a good impression. Neatness and careful organization are essential whether you’re using a three-ring binder or a leather case. The most popular portfolios are simulated leather with puncture-proof sides that allow the inclusion of loose samples. Choose a size that can be handled easily. Avoid the large “student-size” books, which are too big to fit easily on an art director’s desk. Most artists choose 11×14 or 18×24. If you’re a fine artist and your work is too large for a portfolio, bring a digital portfolio on a smartphone or tablet or a few small samples.
• Don’t include everything you’ve done in your portfolio. Select only your best work, and choose pieces relevant to the company you are approaching. If you’re showing your book to an ad agency, for example, don’t include greeting card illustrations.
• Show progressives. In reviewing portfolios, art directors look for consistency of style and skill. They sometimes like to see work in different stages (roughs, comps, and finished pieces) to examine the progression of ideas and how you handle certain problems.
• Your work should speak for itself. It’s best to keep explanations to a minimum and be available for questions if asked. Prepare for the review by taking along notes on each piece. If the buyer asks a question, take the opportunity to talk a little bit about the piece in question. Mention the budget, time frame, and any problems you faced and solved. If you’re a fine artist, talk about how the piece fits into the evolution of a concept and how it relates to other pieces you’ve shown.
• Leave a business card. Don’t ever walk out of a portfolio review without leaving the buyer a sample to remember you by. A few weeks after your review, follow up by sending a small promo postcard or other sample as a reminder.
Send a 9×12 envelope containing whatever materials galleries request in their submission guidelines. Usually that means a query letter, images, and résumé, but check each listing for specifics. Some galleries like to see more. Here’s an overview of the various components you can include:
• Digital images or slides. Send eight to twelve digital images (JPEGs on a disk) or slides of similar work in a plastic slide sleeve (available at art supply stores). Slide submissions are less common these days, but, if you do submit slides, protect them by inserting slide sheets between two pieces of cardboard. Ideally, images should be taken by a professional photographer, but if you want to photograph them yourself, refer to The Quick & Easy Guide to Photographing Your Artwork by Roger Saddington (North Light Books). Label each image with your name, the title of the work, the medium, and the dimensions of the work. For slides, also include an arrow indicating the top of the slide. Include a list of titles and suggested prices gallery directors can refer to as they review the disk or slides. Make sure the list is in the same order as the images on the disk or the slides. Type your name, address, phone number, e-mail, and website at the top of the list. Don’t send a variety of unrelated work. Send work that shows one style or direction.
• Query letter or cover letter. Type one or two paragraphs expressing your interest in showing at the gallery, and include a date and time when you will follow up.
• Résumé or bio. Your résumé should concentrate on your art-related experience. List any shows your work has been included in, with dates. A bio is a paragraph describing where you were born, your education, the work you do, and where you have shown in the past. (See “Building an Art Résumé” in the Articles & Interviews section for more information.)
• Artist’s statement. Some galleries require a short statement about your work and the themes you’re exploring. Your statement should show you have a sense of vision. It should also explain what you hope to convey in your work.
• Portfolios. Gallery directors sometimes ask to see your portfolio, but they can usually judge from your JPEGs or slides whether your work would be appropriate for their galleries. Never visit a gallery to show your portfolio without first setting up an appointment.
• SASE. If you need material returned to you, don’t forget to include a SASE.