" The Killer Portfolio "

Every fresh and sparkling artist faces the same problems when starting out.

Where to start?

What to do?

Who to shmooze?

The only place to start is in your studio creating art.

Do whatever you want to do.

Artists need people who will pay money for their stuff.

Lets get to the bottom line. Art is meant to be seen, sometimes heard, sometimes felt, rarely smelt. The most important first step is the formation of a portfolio. This seemingly innocent and thin collection of information is the best way to garner attention and represent yourself and your art. A professional portfolio is important when approaching potential clients, gallery’s, art directors, and judges. Here to give the basics in portfolio development and some tips and tricks are a few experts. Angi Sullens is the creator and curator of the Duirwaigh Gallery. Eric Lofgren is an accomplished illustrator with a long list of credits. His focus is the RPG and gaming industry. Judith Metzger is owner of the Alvida Art Gallery as well as an Art Director with Coastal Empire Media. These three wonderful people were willing to accept the punishing array of questions I threw in their path. They all were able to pass on their knowledge with panache and very few broken bones.

Lets just dive right in shall we. In the beginning there was … nothing.

1) What is a portfolio?

Angi: It is commonly said that first impressions last a lifetime. The same can be said for an artist’s portfolio. In many instances, your portfolio is the only chance an art director, gallery, publisher, or corporate buyer is going to have to meet you and discover your work. Therefore, presenting a portfolio that showcases your talent both attractively and accurately becomes a necessity. You can’t get the job if you don’t interview well, and your portfolio is your first chance at that interview.

Eric: Your portfolio is what visually tells an interested person just how capable you are. It can speak volumes for someone who knows what they are looking for. Therefore it’s always important to expend time and effort in putting together a portfolio that represents you as best it can. It can be costly, but it is an extension of yourself when you are trying to sell your ability, so it better be as good as it can be. Think of putting it together as your first professional art assignment.

Judith: A portfolio is a representation of an artist’s best pieces; giving a variety of subjects, mediums, and related variables. It is a true resume for the artist.

A portfolio should include:

- An introductory letter

- Artist’s Resume

- Artist Biography / and or Artist’s Statement

- Ten to twenty examples of your work in slide or print form

- Any reviews / articles about your work, should you have them.

2) Should a range of styles and mediums be represented?

Angi: If an artist works in a range of mediums, it is advantageous to have separate portfolios for each. Some artists prefer to make several sections within one portfolio. Consider the client when putting together your portfolio. Select work that will be most impressive for the arena your seeking to conquer. Choose the strongest pieces that most accurately depict your chosen style (s) and medium (s). Photographic slides and/or colour paper reproductions of your work should not be enhanced or altered in any way. Nothing is worse than reviewing a fantastic portfolio only to discover the actual art doesn’t match. Let your portfolio represent the AUTHENTIC you that makes your artwork a unique and rare commodity.

Eric: Only include styles and mediums that reflect the very best artwork that you can do. Reflecting how able you are with the mediums you work with. Do not include experimental pieces, or older works in mediums/styles you don’t work with anymore. The portfolio should always be as current as possible. You absolutely don’t want to be mastering a technique, completing a job on time, as well as pleasing an AD for your first assignment. You want to be sure that when you are chosen for a job, it’s in a style and medium you already know inside and out.

Judith: Absolutely! A potential customer wants to know that the artist can modify their style to fit what ever needs are present.

3) Investing money in the portfolio. Good idea?

Angi: Let’s go back to the first impression concept. If someone shows up on your doorstep for a first date and they haven’t showered for six days, they smell like yesterdays yogurt and they’re wearing something inspired by Elvis’s Vegas days, you’re going to have second thoughts. Give your audience the same consideration. Invest in quality reproductions, (slides are often preferred over prints, though paper reproductions are acceptable too) attractive stationary, and a sturdy and well manicured binding.

Eric: What is most important is the portfolio actually work for you and the AD. After the artwork, the most important aspect of your portfolio, is that it’s as neat and organized as possible and as presentable as it can be within your budget. Make a budget allowance for your portfolio factoring in all the costs and buy the best possible materials you can. Make sure your colour print outs are as close to the original as they can be. If not, consider that you are misrepresenting a piece of artwork to an AD. A good binder that holds the copies firmly in place is a must. All your artwork should be labeled and in order, with your name and contact info on the back of each page (another must). Your portfolio should be of a type that’s easily handled by the post office. Actual paper quality isn’t so important.

Judith: Professionalism through a quality portfolio best represents a highly efficient and quality oriented artist.

4) Should the portfolio be customized for every situation, or can it be good for every occasion?

Angi: Consider your audience. The portfolio should represent your strongest assets accurately and reliably. Many artists prefer to have one standard portfolio, for simplicity. However, if the job is an important one or with a client with a particular project, it certainly helps to prepare your portfolio with that project in mind. Help them visualize why you would be right for the job.

Eric: It depends on the markets you are targeting. If you aim for book covers only, then your portfolio should focus on that. If you aim for the collectible card market, then try and tailor your portfolio to those styles and formats. As with a lot of markets you can diversify your portfolio to suit a number of needs. Card and book cover examples could both be used to represent your colour ability while the layouts of both serve each individual market. If you are a muti-talented artist who can manage many different styles, mediums, and formats, then a varied portfolio that nicely covers all aspects of your abilities could work. Consider however that even if you are the best colour artist in the world and you include some mediocre pen & ink illustrations along side your colour work, it may backfire an you. My own portfolio has a number of colour card illustrations, as well as various pen & ink and grey scale interior illustrations targeted at the card market and RPG industry. I was trying to economize as much as I could when I put it together, but I still made sure that both styles and mediums were of a calibre that I felt was professional looking and best showed what I was capable of.

Judith: It depends on the job they are trying for. It’s best if an artist has several versions of styles in a variety of mediums. That way they can customize each portfolio to each interview. Some customers are looking for a complete variety, some are looking for a distinct look. You must know your potential customer before arriving to an interview and BE PREPARED!

5) Is it important to have an online portfolio?

Angi: Online portfolios are good for one thing: baiting interest. It’s a wonderfully convenient way to introduce another to your work when time or space is an issue. However, an art director is going to want to see your work (good quality slides or reproductions) in person. Online photographs can often be misleading and a good art director is going to want tangible proof of your abilities. So many stories begin like this, “He described himself online as a Mel Gibson … but it was Mel Brooks that came to my door.” Make sure that your client knows ‘What you see is what you get’ both online and in person.

Eric: I use my online portfolio a great deal. In today’s market, creating an online portfolio is fast becoming one of the most important things you can do for your career. It is not critical to have one and in fact, there will always be a need for a physical portfolio, as some companies still demand a physical portfolio for review. Today more an more publishers have a strong online presence. The net is making it that much easier for the management of certain production aspects like freelance portfolio review. Consider my own personal experiences with RPG companies, I can actually submit a portfolio url to a publisher in the morning and be working on the job that night. And this is with some very well respected and long time publishers who themselves are coming around to the ease of it. In the end it is a personal preference to make. One portfolio type or another won’t guarantee work from anyone.

Judith: It is absolutely important. More and more customers want easy access to a list of artist’s without the hassle of interviewing in person. Also, this greatly broadens an artist’s area of employment. Telecommunications is becoming more and more prevalent in the art field.

6) Should the content be different in the online vs. the physical portfolio?

Angi: Absolutely. Put your best work in the physical portfolio. Make the online one a teaser and be sure to keep some little treasures tucked away in the physical portfolio.

Eric: I feel strongly that both should reflect the same level of efficiency, style, and ability. In fact, having actual different pieces of artwork in each wouldn’t necessarily detract from your presence or professional credibility at all and might be a good way to be a little more flexible or diversified. But it is important that they both contain artwork that is your most current.

Judith: It really depends on medium. Obviously 3-D work is better represented in a physical form and digital work is better online. Again, get to know your customer ahead of time.

7) Can you recall a portfolio that was really awful?

Angi: Bad art makes a bad portfolio. Before you send a portfolio, make sure you’ve invested adequate time in your skill. If you haven’t invested time perfecting your craft, your not ready for a portfolio. Also, bad presentation is a killer. In a years time, Duirwaigh Gallery receives just over five hundred online portfolios and just under one hundred physical portfolios. The kiss of death is BAD PHOTOGRAPHY. One portfolio came from an artist showcasing twenty works in watercolour. Most were photographed outside on an easel where I could more easily define the goats in the yard than the content of the paintings. The remaining paintings were photographed in frames hanging on walls, complete with glare from the flash.

Judith: I can recall several. Here are some of the common errors they have sent us: Poor quality (not matted, stained, damaged, bad paper, faded, etcetera); Not remotely the type of work we carry (i.e. watercolour flowers sent to a modern ‘figurative’ gallery); Old work that doesn’t represent the artist’s current style or medium; and not enough pieces (we have had some people bring us one piece and believe it best explains their work).

8) Can you recall a portfolio that was really special?

Angi: Actually, Duirwaigh Gallery is a full service artist management company, and as part of our service, we often create portfolios for our artists. We spend a great deal of time, energy and money making sure the graphics are eye-catching, the type face is clean and tight, the correspondence is interesting yet concise and the reproductions are attractive and appropriate for the client. If you do not have artist representation already or prefer to go it alone, there are several books available. ‘The Visual Artists Business and Legal Guide’ by Gregory Victoroff, ESQ. comes to mind.

Judith: I had an artist mail me her portfolio in a wonderful, dynamic way. She sent a flyer of general art, including a creative design layout. It also included a CD of all her work (in both PC and MAC friendly formats) - extremely organized, easy to access, great representation. Inside the brochure was also a few high quality 8 by 10 prints of her work (and a detail of texture blown up in the corner of each piece). This portfolio was complete, creative, detailed, and varied in style and medium. She had included a clean artist statement, resume, and business card. And it was done in a very professional manner. Lastly, she included a self-addressed, stamped envelope to send it all back.

Final words

Angi: The key issues when creating your portfolio:

* Develop your craft -- Believe in yourself enough to develop your skills.

* Invest in a professional, attractive binding/presentation when you’re ready to present yourself to the world.

* Select your best works -- Show your style and your abilities proudly.

* Keep it real -- Accurate representation secures peace of mind for you and your client.

* Keep it simple and straightforward. Ten to twenty pieces are enough to generate interest without overwhelming.

* Consider your audience -- Be conscientious of the job and skills required for it.

* Include introduction, thank you and supporting materials if available.

Eric: A portfolio, online or physical, should not be jumped into without some careful planning and budgetary allowances that will best present yourself and your best work.

Judith: We once looked at the most horrible portfolio from the most amazing artist. His portfolio was held together with duct tape, and most pieces were not the artist’s proofs. Most photos had scratches and tears. The artist himself was a true ‘Goth’ with long, greasy black hair, torn, safety pin clothes and combat boots. But his work was WONDERFUL! We ended up guiding him through presentation (matting, framing, etcetera) and he became one of our most successful consignees. So in the end, the artist’s skill still matters the most - despite the portfolio - if your able to find an understanding customer to guide you.

Obviously a lot of thought must go into a portfolio. As well as really good art. I know I am going straight to my drafting table. All in all I hope the information provided here has helped to clarify the portfolio process and speeds you toward the creation of your own killer portfolio. Now go slay ‘em!