Self-Promotion

1. Self-Promotion Do’s, Don’ts, and other stuff Excerpts and notes from The Art and Business of Creative Self-Promotion By Jerry Herring and Mark Fulton And Artist’s and Graphic Designer’s Market Edited by Mary Cox

2. WHY? • If people have only seen one kind of work from you, they’ll assume that’s all you can do! • You can change your image via SP • If you are not expanding your contacts, you are most certainly losing ground to your competitors. • EXPOSURE

3. What do you Want to Accomplish?List these items and keep them in mind when you plan a strategy • Establish or develop an image • Change a perceived image • Get more work • Get a different kind of work • Get better work • Get better-paying work • Expand your client base • Relocate geographically List #1

4. When? • “If you’re busy, you won’t do it; if you’re not busy, it’s too late.” • Houston designer Jack Amuny • Think about building a reputation over time, rather than one image/piece that does it all. • Many times a buying decision is made on the spur of the moment. That’s when your name should come to mind.

5. How? • List the people who can help you accomplish the goals in list one • If you don’t know any names, call agencies/ companies and ask • Think about the broad area you want to work in and tailor your project to fit List #2

6. First Define your Broad Audience • Ad agencies • Design firms • Public relations firms • Specific corporate categories • retail, computers, shoe designers, etc. • Colleges • Foundations • Publishers

7. Then Refine Your List to Individuals • Creative directors • Account executives • Art directors • Writers/producers • Corporate communications directors • Marketing mgrs. • Information svcs. Directors • Editors • Photo editors • List by market, specific name, phone number, address - update when necessary

8. Goals • According to one survey, there are twice as many buyers of creative talent as there are sellers. (!) • Locate those individuals that are right for you, impress them, keep on impressing them • How can you be of VALUE to them? • Get them to think of you as a resource to help them get what THEY want

9. Get Help • Schedule self-promotion as you would any other paying job and treat it with the same seriousness • When you need help, partner with the best you can - figure ways that the project will help them too. • Ex: printers - you can’t afford printing and they can’t afford great illustration/design that will show off their abilities

10. Nonprofit Opportunities • Lots of opportunities here for real clients • More creative freedom • “If they want to pay a lot of money, they can have a lot of control. If they want to pay a little bit of money, they can have a little bit of control. And if they don’t want to pay anything, they can stand and watch.” • No excuse for doing anything but terrific work - they are still your client

11. Award Competitions • VERY influential • Society of Illustrators Annual, Communication Arts magazine, CMYK magazine, Print magazine, HOW magazine, etc. • Pick the most important, such as: • Local competitions • Those that are published • Shows that are of special interest to your target audience • Avoid those that can’t help you - $$$

12. Join Professional Organizations • Professional (and not) organizations that are appropriate • NETWORK!! • Join the speech team!

13. Follow Up • The self-promotional piece has to be pursued by you. Cold calls, visits, etc. • The GOAL of self-promotion is to get a conversation with the person who can help you • Interview: be yourself, not pushy • Follow up with a thank you note a couple of days later

14. Basic Options • Postcard • Easy to send and keep - tack to wall • Include your name/address/phone/web • Include somewhere the word “Illustrator” • Promo sheet • 81/2x11 - can show more work • Don’t fold anything - mail flat • Tearsheets • Copies of printed work • Photos or slides (somewhat inconvenient) • Cover letter • Included with other materials (tearsheets, promo sheets) • One or two paragraphs is ok • Use your own stationery

15. Not so Basic Options • Talent directories - annual directories that sell space to artists • The Black Book (www.blackbook.com) • The American Showcase (www.americanshowcase.com) • These can cost upwards of $2500, but they guarantee your work will be seen by thousands of art directors each year. • You have no control over who sees them • Artists claim to get back a return that makes the investment worthwhile

16. Not so Basic Options • Media / public relations • Send out news releases when you do something out of the ordinary • Networking • Seminars, trade shows, organizational meetings, etc. • Always have business cards

17. Summary Hints • Basic guidelines for any concerted promotion campaign (>1 image): • Develop a solid concept/idea • Execute in a fresh way • Be broadly interesting (not too specific) • Produce promotions regularly • Make promos that are too valuable to throw away - things people want to keep

18. Summary Hints • A direct mail piece that does not ask for a response will not receive one. If you want people to call you, you have to ask them to. • Use special occasions as self-imposed deadlines to get going • Anniversaries, birth announcements, etc. • Send to people who would care (identify your audience) • Experts suggest artists spend 1/3 of each week and up to 10% of their gross revenue on self-promotion

19. Don’t Forget Your Clients • It’s easier to keep existing clients than it is attracting new ones • Be sure to thank them in addition to always doing good work • Inexpensive, but thoughtful gifts • Books, wine, flowers, etc. • Don’t ever take them for granted

20. Portfolios

21. Portfolio Considerations(there are no “rules”) • Present you work in a format that will make the work look its best and in a format that will be understood by the prospect. • A poster, for example, may be appropriate to one and grossly inappropriate for another • Who is my audience? My audiences? • What form will by audience respond to? • Be able to add/subtract/customize my portfolio? • How much should I show?

22. Portfolio Considerations(continued) • How long can I show it before it’s out of date? • Am I showing a sample because I like it or because it can get me work? • What other information would a client want to know? • Client list? – Photos of studio space? • Self-portraits – Other resume’ materials? • A series of images showing your methodology?

23. Portfolio Considerations(continued) • There’s no way you can please everyone in every case • Never include originals - only copies • Presentation is EVERYTHING • Neatness and organization more important than the quality of the book itself • Choose a size that is easily handled • Always be able to leave something behind and follow up a few days later with a “thank you”

24. The Artist Representative

25. The Artist Representative • What they can do for you • Expand contracts • Get you more money • Provide more time to create • Provide wider exposure for your work • Educate you on the marketplace and legal issues • You can contract with more than one representative, if the work for each is for a separate market

26. What a Rep Looks For • Does the work match their market? • Is the work unique? • Is the artist professional, consistent, and dependable? • Is the work compatible with that of the other represented artists?

27. What a Rep Costs • 15-30% of money collected, depending on your reputation and ability to attract work • BUT: • They will pay the same percentage in promotional costs (portflio prep, printing, etc.) • And they can often negotiate for more money that you could

28. Resources Artist's and Graphic Designer's Market2500 Places to Sell Your Art & Design Edited by Mary Cox Writer's Digest Books, Cincinatti ISBN: 0-89879-794-2 (1998 version) The Art and Business of Creative Self-Promotion: For Graphic Designers, Writers, Illustrators and Photographers by Jerry Herring and Mark Fulton Watson-Guptill Pulications, 1987 ASIN: 0823002489 The Fine Artist's Guide to Showing and Selling Your Work By Sally Prince Davis North Light Books ASIN: 0891343083