Illustration Portfolio Do's

In the past, if an illustrator asked what they needed for a successful portfolio, he or she would have been told, “every portfolio must contain the three h’s -- head, hands, and heart”. Head referring to concepts, hands referring to skills, and heart referring to desire. These days, a portfolio is expected to contain much more than that. It not only must demonstrate what you have done in your past, but must also predict what you might achieve in your future. A portfolio must be able to weather all situations. Below are a number of tasks a portfolio must now do.

© 2013 Don Arday.

Do Establish the Purpose for 

Your Portfolio

Is it to obtain full-time employment, a freelance commission, a teaching position, a gallery exhibition, etc?

First and foremost, it is important to know what you want your portfolio to do for you. The purpose for a portfolio is the single largest determining factor in how the portfolio will look and function. A portfolio constructed for interviewing for a full-time position will have to function differently than one that is meant to attract freelance work, or is for some other purpose.

Do Know Your Audience

Are they a creative person such as an artist or designer; or are they a non-creative person such as an editor, writer, marketing person, or business owner?

Just as advertisers, marketers, product developers, and manufacturers exhaustively research their audience to get to know their customers, you should do likewise. Differing audiences will require varying forms of communication and possibly even different language sets depending of their knowledge of what it is you do. These factors will affect the form and content of your portfolio presentation.

Do Know How to Reach Your Audience

What are their job responsibilities, and the type of business they work for? Do they have a preferred method of contact? Can you contact them through a referral?

It’s important to know if you are dealing directly with someone who has the power to make a decision, or someone who can only relay information within a company. It’s also essential to know if the business they are in can hire your services directly, or whether you should be in contact with another outsourced company or division. For instance, to work for Pepsi, you will have to deal with an outside firm.

Do Know What Will Attract Your Audience

Have you seen the work they do and what their company does? Are you familiar with the type of work they typically commission? Do you know who their customers are?

Every company has a set of criteria that provide guidance for the type of work that they do. The criterion also sets the personality and style of their business. For some companies like children’s book publishers for instance, it is obvious, but for design firms and advertising agencies it may take some research on your part to know what demographic they specialize in and who their clients are. The work shown in a portfolio should be chosen accordingly.

Do Select the Appropriate Portfolio Media

Will you need a physical hard copy portfolio, a virtual digital portfolio, a website portfolio, a disposable portfolio, etc.?

Pertaining to marketing, aspects of presentation and a portfolio’s function, you should know whether you are seeking a job or commissions locally or nationally. Whether you can get by with a digital or web-based presentation, or whether you will have to appear for an interview in person, and with whom.

Do Select the Best Format

Does the portfolio need to be small or large, physically shipped or emailed, horizontally formatted or vertical, individual panels or a bound presentation?

If most of your work is vertical, arrange your portfolio so the spine is vertical. If the work is predominantly horizontal use the cover or case to indicate that orientation since there are relatively few commercial portfolios made with a horizontally oriented spine. Choose a format that will easily allow you to reconfigure your portfolio quickly if you will frequently need to do so.

Do Determine the Number of Illustrations

Should you show many illustrations or a select few? If you have a series, should you show all of its pieces? How similar in style, format, or appearance should the work be?

Most illustrators show more pieces than they should, and most reviewers tend to experience visual fatigue and attention deficit somewhere between 20 and 25 pieces. The main goal is to leave a lasting impression with the work. Work that is repetitious in composition, color scheme, point of view, and content tends to blend together. Work that presents a variation of aspects tends to be more memorable.

Do Choose the Right Illustration Content

Should you include only published work? Should published work be presented as tear sheets? Should it be full-page illustrations, or should you also include spot illustrations, icons, etc? Should you include black and white work? Should you show all finished work, or add in concept sketches?

Illustrators who have a few years of experience are expected to show published work. Illustrators just starting out are not subjected to the same expectation. The content of a portfolio should be a combination of “absolute best work” and work that relates to the opportunity at hand. If black and white or other forms of work are a part of the repertoire of the reviewer than they should be in the portfolio.

Do Seek Opinions on Content

Are you the best judge of your own work? Have you gotten positive feedback about specific pieces? Do you know someone who can lend you an opinion?

One of the most difficult tasks in creating a portfolio is selecting the work. Even illustrators with years of experience need help when it comes to curating their work. Artists often develop a bias towards certain pieces. It may have to do with the great amount of effort it took, or successfully pleasing a difficult client, or some other prejudice. These situational conditions should be overruled by quality.

Do Provide a Context For The Work

Have you provided relevant titles or client information for the illustrations? Can you provide a sentence to summarize an assignment or to explain the purpose for the work?

Any information that explains to a viewer what they are looking at can be as valuable as the work itself. In a portfolio, all images appear to be very similar in proportion whether they were produced for a 3’ x 4’ poster, or a small format magazine; or whether they were done for a nephew, or a multinational company. Having the work placed in it’s proper context is important for a reviewer.

Do Match the Context to Your CV

Are you showing illustration examples that match the employers and clients you list on your resume? Do the examples demonstrate the skills you have listed? Does the work reflect either your job objective or your experience summary?

It is very easy for a resume and a portfolio to present a split personality. A common example, although it is not necessary, is to list freelance projects on the resume. Reviewers will want to see the pieces that correspond to the listings. And, should the work shown in the portfolio diverge from actual past experience, it can be easily addressed with a career objective statement on the resume. Both credentials should be mutually supportive.

Do Design Your Portfolio

Can your portfolio case or binder be differentiated from other portfolios when it is closed? Does the interior layout of your portfolio compliment your work or compete with it? Is the layout uniquely identifiable? Does the page size and scale of images show off the level of detail in your work? Do images sit opposite one and other on page spreads if you are using a bound portfolio? Does your portfolio shift from a horizontal orientation to a vertical one several times?

All aspects of your portfolio presentation should be customized to leave an identifiable impression on a reviewer, from the materials used, to the layout, color scheme, and application of typography. Reviewers sometimes look at a dozen or more portfolios, which equates to viewing 200 to 250 images within a single sitting that lasts less than one hour. So in addition to the work, a portfolio’s design must also form a memorable impression.

Do Work on the Order of the Work

Do adjacent illustrations compliment one and other? Is there a natural progression of work? Does the order of the work support a presentation narrative? Does the arrangement of works at any point cause a reviewer to make a “this is better than that” judgment about two pieces? Is the arrangement the visual equivalent to Beethoven’s Fifth Symphony?

Organizing the sequence of work in a portfolio is a subject unto itself, and although there are unlimited possibilities, there are some strategies that work better than others in certain situation. The work itself must be high in quality to provide the best source for a portfolio, regardless of any organizational tactics. Some of the most common approaches will be covered in a future posting.

Do Support the Work With Branding

Do you have a logo or specific type treatment you can apply to your materials? Do you have a specific color scheme? Does your portfolio coordinate with your resume, mailers, business card, website, etc.?

Branding goes hand in hand with portfolio design and function. Branding not only serves to promote recognition, but it reinforces memorability and reveals the rank of a professional. Branding, once established, provides solutions for many design and promotional problems that arise when preparing marketing materials like the appearance of the resume, cover letter, mailers, stationery, home page design, etc.

Illustration Business Planning

There is quite a bit of information available on business planning, but as we illustrators know all to well, the illustration business, is by it’s very nature is different than most other businesses. For one thing, it is neither a service business, nor is it a product providing business, it is both. So right off the bat, business models that only work exclusively for either services or products, which are most of them, are not a good fit for an illustration business.

© 2000 Don Arday.

The most standard business plan is a start-up plan, which defines the steps for a new business. It covers standard topics including the company, product or service, market, forecasts, strategy, implementation milestones, management team, and financial analysis. The financial analysis includes projected sales, profit and loss, balance sheet cash flow, and probably a few other tables. The plan starts with an executive summary and ends with appendices showing monthly projections for the first year.

A strategic plan, or a “hopes and dreams” plan, focuses more the big picture priorities to provide a framework for making smaller decisions. For the sole-proprietor illustrator, it is a personal plan that provides a definition of the business and a description of future aspirations. Detailed cost factors, equipment needs, space requirements, etc., are not the focal point of a strategic plan.

Do You Need a Business Plan?

If you intend to borrow money for your business, in addition to demonstrating evidence of financial stability, you will need a business plan. Depending on how you look at it, many illustrators do not need to borrow money to start a business. If you don’t have a need to borrow money, a business plan can be an informal one. I said depending on how you look at it, because many illustrators have already taken out a loan for the purpose of creating an illustration business, a student loan for their college education. After all, the debit created by the loan will factor into the illustration business operating costs in some cases for many years.

© 2000 Don Arday.

Even though a business plan may not be necessitated by the need for external financing, having one can be vitally important to how you will make decisions and conduct your business, so it is wise to have a plan. For illustration, the plan can be a strategic plan, a start-up plan, or a combination of the two.

The Strategic Plan Objective

A plan provides guidance. Guidance provides direction. Direction leads to a goal.

The Start-Up Plan Objective

A plan identifies needs. Needs lead to resources. Resources support work.

A business plan should be as simple as possible. It should be appropriate to the scope and circumstances that will constitute your interpretation of your illustration business situation, i.e., your business environment.

Even if you're starting off as a sole-proprietor, and you have your own resources for your business, an informal business plan can greatly improve the chances that your illustration business will succeed. With a plan, you will have a blueprint for building your business in well thought out stages. Special Note: Your business plan should be written for non-artists.

Illustration Business Plan Outline

1. Overview

A brief statement describing your business including location, market segment, etc.

2. Objectives

A statement should be provided for both short-term objectives (three years or less), and long-term objectives (five years or more).

3. Mission Statement

A mission statement to establish a business goal and how you intend to achieve it.

4. Key Advantages

A statement or list of the main areas of specialization or expertise you have to offer. What might make your business different from the competition.

5. Company Synopsis

5a. Type of Company

A company type identifies a prescribed business structure for purposes of legal and tax requirements and advantages. Types of companies include; a sole-proprietorship (single ownership), also called a sole-trader; a partnership (shared ownership); a limited liability company (LLC), a type of partnership; and a corporation. Each type has advantages and disadvantages and should be thoroughly researched as to which will work best for your business.

5b. Inventory

Furniture, equipment, materials, computer hardware, and software should all be included.

5c. Assets and Liabilities

Inventory items should all be listed as assets and given a value for a loan application if appropriate. Liabilities should also be listed, e.g., computer loans, rent, utilities, etc.

5d. Start-Up Requirements

A list of all business start-up needs with a description and the expenditures relating to them. This should contain all aspects needed for your illustration business such as office space including square footage, arrangement, internet, and utilities needs. Include equipment needs such as computers, software, hard drives, printers, scanners, modems, telephones, copiers, etc. List furnishing needs, for instance desks, file cabinets, chairs, easels, taborets, tables, bookshelves, etc. Expendable materials should also be listed and costs estimated. This would include computer, art, and office supplies. Detail the monetary requirements such as rent, utility fees, salaries, insurance premiums, and tax provisions, e.g., self-employment social security contributions, etc.

5e. Support Services

List any support services your business will rely on. Common support services for illustrators include digital output bureaus, photographers, models, delivery services, web hosting providers, etc.

6. Illustration Pricing Structure

An explanation of product and services pricing including the method used for charges, be it based on a lump-sum payment, or an hourly-wage formula or both. There may be a lump sum charge for the illustration/creative itself, and hourly-wage fees for supplemental services such as meeting time, and non-creative production fees.

7. Marketing Strategy

A statement outlining the plan for marketing your illustration business including media and means. Marketing includes all forms of promotion, both purchased and gratis. Purchased refers to those forms of promotion that you have to pay for, while gratis refers to those where the promotion has no cost.

7a. Purchased Promotion

Advertising in any form, either print or online; direct mail; identification and signage; a web presence that might include a website, portfolio hosting sites, a blog (paid), a Facebook subscription (paid), etc. Some less thought of purchased promotions include paid memberships in organizations; entry fees to competitions; and perhaps most importantly, portfolio fabrication and maintenance; etc.

7b. Gratis Promotion
Often overlooked, plans for encouraging client referrals, leveraging networking relationships, and capitalizing on reputation/acknowledgements should be stated.
The internet provides many opportunities for gratis promotion such as a free Facebook page, Google+ page, Twitter account, Linkedin page, Pinterest account, free blog page, membership in online groups, free portfolio sites such as Deviantart, etc.; and more and more new free promotional opportunities are constantly coming available. This continuous change makes gratis promotion somewhat less defined than purchased promotion.

7c. Targets
Targets equate to your intended customer base. It may be one or more specialized markets like publishing or a segment of a market like nature publications; a specific category of work like children’s book illustration; a defined location like the New York city area; a list of specifically sought after clients.

8. Finances

8a. Breakeven Estimation
A breakeven estimation identifies the actual operating costs of a business for the purpose of knowing when earnings represent actual profit.
       
8b. Pro Forma Estimation
If it is necessary to go into detail on the financial aspects of your illustration business, say to secure a loan, you may want to prepare “pro forma” statements for cash flow and profit and loss. A pro forma is a financial statement based on financial assumption or prediction, it can also reflect a financial development that will occur in the future, or has come into effect from the past. An example might be an expected tax break that will occur at reporting time.