liz-PPD and Enterprise

how to approach an agent

Here are a few pointers what TO DO AND WHAT NOT TO DO when approaching an Agent or Rep.

Never send an email that is address to: To whom it may concern. Make sure you know the agency you are approaching. Do some homework and find out all you can about them and get the name of the person in charge or who is responsible for looking at work.
Try not to email to a list of people at a time, putting all their emails as cc. That is what the bcc is for and I hate to see the list of people at the top who have all received the same email.
Also, whenever I get emails that is address to: Dear Sir/Madame I usually just throw it in the trash.
I would suggest that you try to be brief and to the point. No point going on and on.
Don’t send too many high rez images at once. I prefer low rez myself.
Try and refrain from sending several emails in a row with many different images. This just annoys us and usually ends up in the trash as well.
Try not to ask for advice when what you really want is to be represented. I get so many emails asking me for my advice then asking me if I would take them on. We reps are usually very busy or at least we should be trying to get work for the artist that we already represent.
If you have questions about the industry then I suggest you spend some good quality time researching these questions on the web. There are so many great websites out there with so much information for illustrators just starting out. Another great thing to do would be to join an association in your country. They are great place to get advice and are filled with several knowledgeable professionals.
If you are lucky enough to get in with a good Agent or Rep, I suggest that you treat this relationship like any other important relationship in your life. The more you put in the more you will get out. Also always keep the lines of communication open. Respect and loyalty in my mind is the key.

The Ultimate Illustration Agents list

And now we’re going to find an illustration representative, an agent…

Don’t we wish it was that easy. Well it’s not. One reason it’s not easy, is that for each illustration agent out there, there are thousands of illustration artists that are trying to get representation. And this number is probably only going up. The other reason is that (from what I read) even after you find an illustration agent, your problems don’t just go away – but let’s consider that as rich man’s problem and focus on problem number one.

The path is clear, make a list of all illustration agents, submit the best possible portfolio of artwork I can put together and wish for the best.

Deciding to be open about the whole process, I’m publishing here the complete list we created of art agents that accept illustration art. Please do send me a note if you find any agent that fits this description I might have missed. I’m trying to build the most complete list possible. To save you the trouble I’m also writing below the list of sources we used in order to get the list done. I’ll start with the sources and then place the list:

Where to find agents

1. Illustration Now – The book - if you check the bottom lines, each illustration artist that has a rep reports it. I added agents from both volume 1 and 2 here… I’ll add 3 when I actually buy it.

2. SAA Illustration hub

3. The workbook – a list of representatives

4. Directory of illustration – a list

5. Picture – book – a list

6. A great list at Shannon Associates Artists’ – This is actually one agency that provides a very nice list of links

7. Nice list at the Folioplanet.com

8. Oh… and I just found this wonderful list.

Why to get an agent research

I have highlighted the important parts for me, some positive and some negative. I think if i was to get an agent I need to know exactly what I am getting myself in too.

Getting an agent in Illustration

Agents promote illustrators in a number of ways, including, on their websites, by personal one-to-one presentations to commissioning art directors/buyers and direct email-shots. Promotions can take the form of postcards, desktop calendars and brochures. A reliable agency will have built up good relationships with art buyers and commissioners. Clients will come back time and time again if they get good service and quality professional illustration.

Agents work very hard on behalf of their artists and apart from the promotional duties, most will run each project to make sure things go smoothly for artist and client alike. This can be as simple as making sure the artist has been briefed correctly, checking this against what usage and fees have been previously agreed and ensuring the artist delivers the roughs and final artwork to deadline and spec.

An agent is there to look after the artist's interests first and foremost and will negotiate the fees and usage terms on the artist's behalf. They will also offer advice to artists on how they may be able to improve their chances of getting work.

Using an agent's services has obvious benefits to clients and some art buyers will favour working with an agent as they will be more confident they will get a professional job knowing the fact the artist have be vetted by the agent. A client can also tap into a variety of talent in one place without having to traipse the web contacting artists individually.

Illustrators Agents in general will always require exclusivity in the main country they operate in. The illustration world is a relatively a small one and clients and art buyers over a period of time get to know where they can find certain artists. If an artist has two or more agents promoting their work, this ultimately causes confusion and the artist could be effectively pitching against themselves!

When a good agent takes on an artist, he gives that individual a valuable presence on its website but being promoted does not mean the artist will instantly get work. This depends on the artist's style and whether that style is commissionable and the types of clients the agent has contact with. Artwork can be beautiful and eye catching, but the content of the work maybe too abstract or specialised for most clients needs and may therefore result in less or no commissions.

This stresses the importance for artists to try and utilise their style in a wide variety of subject matter to widen appeal and tailoring their samples to potential future uses - you have to inspire art directors and designers to want to commission you. Artists that are able to carry their style across many areas stand a better chance of tapping into different markets and thereby not putting all their eggs in one basket. Artists should always be looking for ways to improve and update their styles on an ongoing basis to keep their work fresh.

Generally, with most UK agents, there are no fees associated with joining an agency other than providing digital and printed portfolio with samples. Some agencies charge varying percentage rates but it's usually around the 30 per cent mark. Agents have different policies on artist contributions to marketing costs and whether artists can keep their own clients.

An agent will look for commercial potential when looking to take on new signings. The work must be consistent in execution and style and have that extra 'wow' factor that sets it apart from the rest. Samples should be tailored to commercial use such as a book cover design or editorial articles. Don't be tempted to include the portrait of your neighbour's dog you did when you were at uni unless it directly contributes to the portfolio as a whole.

The benefits of an artist having an agent are numerous. Their work may be seen by many commissioning clients in all industries and the agent's knowledge on fees, contracts, copyrights and re-usages will be invaluable. In the event of a problem arising with a job the agent's experience is vital in resolving disputes amicably. They also take care of all the invoicing and administrative tasks to do with getting the fees actually paid.

Artists just starting should not necessarily rush out and try and get an agent straight away. My message to illustrators is to do some marketing on your own first and at least you'll find out for yourself how difficult (or easy) it is to get work.