Feb 2004 - Issue 2
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Selling Your Portfolios
Maintaining your creative drive is hard work, we know. So what happens when you run out of inspirational fuel? Whether you've hit a creative roadblock or simply want to haul your brain our of a rut, give us a month and we'll get your creative gears turning.
Barbara Gordon
Current television commercials, magazine ads, direct mail are also good sources of what that buying audience is looking for.
For the publishing audience I often find the marketplace books (published by Writer’s Digest Books)—the ones written for artists, photographers, designers—a good source because they list what they are looking for as well as how much they pay. For example, two large publishers say they are interested in freelancers who do “children, historical, multicultural & self-help.” These books are inexpensive and a good way to add to, as well as better target, your mailing lists.
I have been talking about the general selling portfolio, which, unless you are a specialist, I believe all beginners should start out with. Primarily because it increases your odds of getting work, which every beginning freelancer needs. So, always keep your options open.
All right, you’re on your way to setting up your general portfolio, but what about all of that experimental work? Do you forget it? No, keep developing that until you have a fully-developed portfolio in that area as well, and then slip some of this work into the selling portfolio for feedback as well as exposure. One other note, always keep a visual image of everything you do—gallery submissions, private commissions, etc. It takes a small effort and every now and then you can hit a big assignment with this work. I speak from broad experience.
The bottom line in today’s market is that the competition is large and sometimes fierce. Economically many of the markets we deal with have been less than expansive, and as I write this no one knows how the present military situation will affect the future. This is why it is imperative to have a versatile portfolio that appeals to the widest buying audience possible. There is nothing more discouraging than not getting any assignments, and sometimes what looks like a pedestrian assignment can be a major career turning point. Always aim for work.
As to what portfolio to submit? If the request is specific—“we need someone to do historical scenes,” be specific and tailor your visuals, but you can add some experimental pieces too. If the request is general “we’ll know it when we see it,” I would submit a broad portfolio of style as well as subject matter; because often if you happen to have just one of the right subject matter or style, it usually encourages a call back.
I can’t write about portfolios without mentioning a very important fact, especially when sending an unsolicited portfolio—know the audience you’re sending your work to. If your images are heavily oriented towards guns, motorcycles and battle scenes, I wouldn’t send it to an account or publisher that deals with baby products. I hear complaints from art buyers and art directors about freelancers who do this sort of thing all of the time. Your buying audience is insulted by this.
To sum up: start by setting up a selling portfolio; keep working on all aspects of your artistic talent; keep a visual record of all artistic endeavors, gallery, private assignments, experimental. Try to know as much about your buying audience as possible in advance and tailor your visuals to that audience. Your portfolio is your store window. Make sure it reflects who you are as an artist.
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