#agentcmdz

People rarely get jobs directly from talking to art directors at award parties, conventions, meet-ups, and the like. It would have to be serendipitous that you happened to talk to an art director exactly when they had a job they hadn’t commissioned yet that were you perfect for. Not that it couldn’t happen, or it hasn’t happened, but it is rare. Going to those events are about making connections and friends within the industry that will lead you to future jobs. It gets your face and your business/promo card in front of art directors and others in the field. It leads you to resources you didn’t know existed. It gets you community within your industry. These events are more of a long game than a short one. Your goal at these events should be to introduce yourself and have a short conversation with at least three new people, even if they aren’t an art director. If you are super shy, start with just one person. There is a good chance that person might even know the art director you are trying to get the attention of. Getting involved in a professional illustration community at first can seem very overwhelming and large, but it actually can be pretty small and intimate at its heart and a lot of people know each other. Because that is the secret of networking that people often times don’t say. It doesn’t have to be a scary or boring formal event. It’s about making friends with people who share a common interest with you. In this case, illustration and art.   Agent CMD+Z

You should put the work in your portfolio that you want to get.  You should also show some consistency in ability and style. Seeing one piece that doesn’t match with the others looks out of place and like you are unsure of yourself.

So, if you like doing anthropomorphic animals have anthropomorphic animals. If you want to make art with non-anthro animals and humans show non-anthro animals and humans. But I wouldn’t just have one piece with anthropomorphic animals. Nor would I only have one piece with just humans. I would have at least a few pieces of each so I know that you can consistently and successfully do both. This advice would also apply to landscapes, monsters, character design, concept design, etc.  

I am a big proponent of always learning, experimenting and trying to new things with your work. It is how you level up as an artist. However, when it comes to your portfolio only put the work you want to get hired for, your best work and a consistent body of that style (or styles).

—Agent Cmd+Z

Unfortunately, that glass ceiling you are bumping into is your growth as an artist and illustrator. And growth takes time and a lot of practice. You admit that your art needs work on the fundamentals, style consistency, and color theory. So, work on the fundamentals, style consistency, and color theory. Create every day. Take classes. Read articles. Go to cons and networking events. Talk to others in the industry.  Ask peers and mentors for honest critiques. Keep plugging away at those fundamentals.Growth isn’t a straight line. There are going to be times where things click and you are learning in leaps and bounds. There are also going to be times when it might feel a lot like you are banging your head against a wall (or a glass ceiling). You need to keep working on those weak spots though. The more you grow, the more likely you are to find clients and work. 

Agent Cmd+Z

For freelance, most Art Directors don’t ever see your CV or resume. It is more about the strength and style of your portfolio. For in-house jobs, as someone just out of school, you will most likely be applying for entry-level positions. Naturally, you would not have much directly applicable experience. Employers would expect you to have a slimmer CV or resume at this stage.Personally, I would still have a small description of your other jobs, but I would play up the general skills you’ve gained from those positions. Experience working with clients, listening, any executive or offices skills, organizing, interpersonal skills, working with a team, management, multitasking, etc are all good things to have listed. They speak to your abilities to be a good employee and a team member which can be just as important as your technical skills as an artist. 

Agent Cmd+Z

If the art directors are hiring these supposedly “untalented” yet somehow successful artists over you, maybe, just maybe the problem is not these other artists. Maybe… hold on to your horses here… the problem might be you. Art Directors don’t hire people who make poor quality work or whose work would reflect badly on their company and products. If you aren’t being hired maybe you have an unrealistic opinion of the work you are doing? Have you had a portfolio review recently? 

Art directors also don’t like working with people who have bad attitudes. There are several freelancers I have stopped working with throughout my career as an AD not because they don’t make good work, but they were so miserable to work with it wasn’t worth it. There are tons of other amazing freelance artists, photographers and designers out there that are a pleasure to work with.

You have one thing right at least. You should focus on yourself and what you can do to improved your own art, as well as your networking, research, and marketing. Getting work is all about making good art and getting it in front of the right people. 

Jealousy, spite, and arrogance never look good on anyone. 

—Agent Cmd+Z

Consistency is key. Art Directors want to not only know you can make a single piece of art in a particular style, but that can you successfully recreate that style when they hire you. Seeing a consistent body of work is needed to build that trust.

That said you can work in multiple styles. However, each style should have its own portfolio with enough pieces to fill it. Each style may also need to be marketed to different audiences and companies. 

If I went to a portfolio website that had ten portfolio pieces up but each piece was a different style, I would be wary of hiring that person. If I went to portfolio website that had two or three different categories based on style and each style had ten pieces of good, consistent work, I would feel much more comfortable. —Agent Cmd+Z

Most likely, with a rush project, the art director has been busy getting the final pieces of the project together and keeping things behind the scenes in motion. I would wait a couple of days and if you still haven’t heard back, I would send a follow-up email just asking to make sure they got the final work and that everything ok, approved and that you can send your invoice in. 

—Agent Cmd+Z