Illustration Ltd.’s Harry Lyon-Smith estimates that there are over 1000 illustration commissions each week in the United Kingdom.
With so many illustrators working on so many projects and any given time, it is clear that there is a big demand for representation out there. Illustration agents, like any agent, are the linchpin in the relationship between artists and the commissioning clients.
That might not explain what the agency does, and why freelancers need them but like any agency, there are certain tasks the agents will do to make it far easier for the freelancer excel in their career. As Caroline Thomson of Arena Illustration agency put it, “An agent is your support, quality control, sounding board and mentor.”
So, here are five practical every-day tasks that we can help you with...
Illustrators and animators eventually reach a point of curiosity about agency representation. Whether you’re a seasoned pro or just starting out, applying to agencies for inclusion on their roster can be a daunting task. At Illustration Ltd, we receive an extremely high volume of requests for representation from artists all around the world, and our success stems from a careful method of selection.
Here’s 7 simple tips to help you stand out from this rather large crowd.
Check out Robyn’s rundown of the key ingredients for illustration success in this field:
Consider your audience and your buyer
As well as being perfect for the target market in both style and substance, the look and feel of the book must be appealing to the adult that is most likely to be purchasing the book. Think about the tastes and current trends that are likely to grab the attention of book buyers.
Accept constructive criticism from those in the know
The editorial and design team will have bags of experience and be directly in touch with sales people so have faith that their feedback will always be based on really valid market information. Even if changes can seem random at times, trust that the outcome will only improve sales of your book. For example, covers that are green sell less well than red covers! It’s a thing - I promise!
Be aware of global tastes with regard to facial features
It is worth having a selection of different eyes and noses up your sleeve (so to speak), and in your portfolio. Features can often be a sticking point as some looks work better in some markets than others. Design teams will often ask for options so it is worth being flexible.
Be mindful that your book might be sold across the globe and should appeal to all children and their families, whomever they are and wherever they are in the world.
For younger children, it’s great to be obvious, but for older audiences, don’t over-egg it! When we are surprised, we don’t always throw our hands up to our faces, or gasp when we are shocked, for example, so think about more natural reactions and gestures when creating character poses. Use friends as models to get expressions and limb positions just right.
Wherever there are characters, a children’s publisher is looking for a little bit of humour, so don’t be afraid to add extra detail or funny elements. Humour appeals to all children (while subtle comedy can lend a book all-important appeal for adults, too), and can really help make your artwork stand out from the crowd. It doesn’t have to include reference to bodily functions, although – to paraphrase the great Ade Edmondson of Bottom fame – a fart is always funny…
This is the terminology for any extra elements on books that add play value, so that’s anything from flaps and sliders to pull-tabs and pop-ups! Good design teams should always provide clear die-lines and briefing notes if these elements are part of the book you are working on, but it is worth becoming familiar with how these work. Spend an hour in a local bookshop in the board book section to familiarise yourself with moving parts, or buy a few novelty books from charity shops and take them apart!
Always ask the question
Don’t feel silly for asking your assigned designer lots of questions: they will be happy to answer anything and will be super-relieved that you asked instead of getting confused by something.
Make the best out of briefs
In my experience, a designer will always prefer to brief you in the way that best suits you. From the outset, do say if there is a particular way you like to work – or, if you are mid-project and struggling with the way it is being briefed, don’t feel afraid to ask for an alternative approach.
…Ask your agent
We are here for you: to support, advise, and help to develop your work – and to be your champion. If you need any assistance, would like some insider advice, or simply want us to ask a publisher something on your behalf, just let us know: that’s what we’re here for!
Read more about Robyn on her Agent profile page at The Bright Agency website
The end of summer is in sight, and a new season means NEW BOOKS! The latest titles publishing this autumn from our brilliant Bright artists showcases the breadth of gorgeous styles across the portfolio — from bold and quirky art full of humour, to beautifully enchanting festive tales.
Among the exciting new titles soon to be adorning bookshelves, is the latest picture book from ‘Supertato’ creators Sue Hendra and Paul Linnet; the much-anticipated sequel to David Litchfield’s highly acclaimed ‘The Bear and the Piano’; and once more we return to the captivating world of ‘The Storm Whale’ to join Noi on his latest adventure. Enjoy!
‘Look’ By Fiona Woodcock / Greenwillow Books
‘As We Grow: The Journey of Life…’ Illustrated by Richard Jones / Caterpillar Books
‘The Space Train’ Illustrated by Karl James Mountford / Little Tiger Press
‘Angry Cookie’ Illustrated by Maria Karipidou / Walker Books
‘It All Began When I Said Yes’ Illustrated by Annabel Tempest / Simon & Schuster
‘Santa Claus Vs The Easter Bunny’ By Fred Blunt / Andersen Press
‘Who’s Afraid of the Big Bad Bogey?’ Illustrated by Tom Knight / Scholastic
‘Cinderella’ Illustrated by Jessica Courtney-Tickle / Orchard Books
‘The Rabbit, The Dark and the Biscuit Tin’ By Nicola O’Byrne / Nosy Crow
‘The Bear, The Piano, The Dog and the Fiddle’ By David Litchfield / Lincoln Children’s Books
‘Lightning Girl 2: Superhero Squad’ Illustrated by James Lancett / Scholastic
‘You Can Tell A Fairy Tale: Little Red Riding Hood’ By Migy Blanco / Templar
‘Mrs. Claus Takes the Reins’ Illustrated by Mark Chambers / Two Lions
‘When I Was A Child’ Illustrated by David Litchfield / Hodder Children’s Books
‘The Story Orchestra: The Sleeping Beauty’ Illustrated by Jessica Courtney-Tickle / Lincoln Children’s Books
‘Christmas Gremlins’ / Illustrated by Chris Chatterton / Egmont
‘Brave and the Fox’ Illustrated by Sebastien Braun / Scholastic
‘We’re Going on an Elf Chase’ Illustrated by Laura Hughes / Bloomsbury Children’s Books
‘Snowball’ By Sue Hendra and Paul Linnet / Macmillan Children’s Books
‘My Friend Sleep’ Illustrated by Hannah Peck / Words & Pictures
‘Grandma Bird’ By Benji Davies / Simon & Schuster
NOVEMBER & DECEMBER
‘All Right Already!: A Snowy Story’ Illustrated by Benji Davies / Harper Collins
‘Frockodile’ Illustrated by Stephanie Laberis / Hodder Children’s Books
To work with Bright’s artists and authors please get in touch.
Phosphor Art are pleased to introduce you to Nathan Smith, their latest signing. Nathan has been working in the creative industries for nearly 30 years, originally training as a Theatre Designer and Scenic Artist, before moving into a long career in Fine Art and Illustration. His work still contains a theatrical flair – “quirky, visually intriguing, playful and informal” are just some of the terms that have been used to describe his style.
The Spanish word 'Gustito' roughly translates to 'the treats that we give ourselves'. With this as their starting point London design studio New commissioned Jean Jullien to create a brand, concept and a totally new language for Argentinian beer brand Andes Origen.
3D artist Asillo has joined up with NB Illustration. Lisa Sheehan AKA ‘Asillo’ primarily uses 3D software along with photoshop and illustrator to create imaginative CGI illustrations and animations that bring together typography and 3D imagery to create graphic fun pieces with visual puns as well as detailed delicate forms.
She also has extensive magazine cover art-direction experience, having art directed covers for the Financial Times for many years.