Hey, here’s another installment of questions people email to me and the answers I give. Remember, when in doubt, join a gang!
The sender’s email is in bold:
I have a few projects lined up right now for bands that are friends, but I need to start pulling in more regular work, and I am woefully ignorant about the business.
1) Do you or did you have any type of representation to get work? If so, any recommendations?
1. I don’t have a rep, or agent, or manager, never have and the way things are going, probably won’t. Many of my friends are also successful illustrators and they don’t have representation. The only illustrators and designers I know are the older ones (in their mid to late forties). I think having a rep is a throwback to a pre internet society, when a professional needed representation. These days, we can all reach out to people ourselves. I do work with agencies at times, but only here and there. I don’t feel like sharing their names as I get good work from them. You can search for reps on the internet, just google terms like “illustration representation” and submit your portfolio for review. Personally, I see a rep as someone taking money that is yours for doing something you can easily do yourself, but that’s me.
2) How much of your posters happen because the band is seeking a poster vs. you contacting them? (in my experience, it looks like most posters happen because the artist likes a band and then finds a way to hustle the poster. In which case, is it better to design the whole poster first, and then get permission to make it / sell it?)
2. There is no single way. Almost all answers to “is it this way or that way” type questions are both or a little bit of everything. With posters this is true especially because it is an independent industry with no set rules and only a loose code. You don’t want to make a poster without permission from the band, even if you haven’t sold it. Only by working with the band’s management are you totally legit. Venues and promoters are third party and usually unofficial.
3) What about contracts? Do you use them every time, and what is necessary to include in the contract?
3. Contracts are always good, but it’s better to call them agreements, it’s more friendly. I only use contracts when there’s big money involved. The bands are good for it and if you establish the terms in email, that’s good enough. I have never had payment issues with a client. Good items to include in an agreement are quantity of posters everyone will get, how much you’ll get paid, work deadlines, payment deadlines, and anything else that you feel is critical. Most posters are made without any formal agreements, just email confirmation.
4) Any advice in general? (hopefully not what Frank Kozik me years ago, “Don’t get into making posters, there’s no money in it.”
4. Kozik is a smart man and he’s right. There’s probably only three guys in the world who could make baller money from just band posters. The posters can make decent money, but you get more money from the work and popularity the posters generate. They’re essentially giant business cards. Things change all the time though.
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