With a career as an artist representative that spans over 30 years, Richard Solomon has a lot to share about the state of the business and where it’s likely to go in the future.
How long have you been an artist representative, and how did you get started in the business? Thirty-plus years…I was a screen writer for 7 years and wanted to change direction, and by chance I had a friend who was a fashion photographer who knew I was between jobs and suggested I try taking her portfolio out to see clients. I did and eventually switched over to illustration, which was more appropriate for me as a whole, and the rest is history.
Does your group work particular niche within the market, and if so how would you describe it? No, there’s no particular niche; we do it all! We value our roster of artists’ abilities to be versatile and take on a multiplicity of work. Painterly, scratchboard, portraiture, indoor/outdoor, digital, murals, it really doesn’t matter. We just have to match up the right artist with the right style, with the right project.
How do you decide to take on a new artist? What requirements do you have? Quality, quality, quality. Definitely the ability to convey strong concepts, and have solid storytelling ability, with a unique signature style: someone who is not a “one-trick pony” who can only draw people, or trees, or landscapes, etc., but can solve problems visually and metaphorically.
Do your artists create work specifically for their portfolios? Do you coach them in this area? Sometimes they do. I would hope they would do it more frequently, but if they are busy, it’s hard to do self-generated, non-paying work. They are highly motivated artists who do produce strong pieces and focus on their portfolios.
What styles are the hottest right now? Whose work do you admire most and why (besides that of your illustrators of course!)? What new creative trends do you see developing out there? For the past several years, what I call “flat” or “graphic” art seems to be ascending. And art directors seem to be using it more frequently, but that’s not to say that traditional, painterly, or line art is not needed, and we believe in having a mix of styles and not simply being trendy.
Are your artists incorporating GIFs and other forms of animation in the work? Any longer animated projects? Yes, quite a few. They push themselves to explore a variety of creative outlets.
What changes do you forsee in the next two years, the next five? Art is morphing into this semi-animated movement art. Depending on the technological advances, it’s likely we’ll see more GIFs and animation. Obviously, print use is shrinking, but I do believe that it’s not going away, but more and more art will be used interactively. Art is becoming more minimalistic, and higher contrast is very important. Bold coloring seems to be a standout.
What are a few of the most interesting jobs your illustrators have worked on recently? We’ve done a number of museum mural projects, which are very interesting, and several liquor and spirits campaigns, interactive digital projects, apparel design, and a lot of great magazine projects, documentary, and film work.
How active are you with s social media? What is your social media strategy? How effective has it been for you? What other forms of promotion do you utilize? We are working with a social media consultant, actually, and are ramping up that part of our business. We try to be proactive in using platforms like Behance, Instagram, and Tumblr, but we are so proud to use Workbook as well! Not to mention – our weekly blasts!
What advice would you give anyone interested in becoming a professional illustrator? A professional artists’ representative? For professional illustrators, this would take an entire essay and a half to discuss! There are way too many factors involved in what being a professional entails and an illustrator’s purpose. The short end of it would be to educate oneself in the industry and be mindful of the 1) trends, 2) quality of work, and 3) where one stands in all of this. You have to be incredibly self-motivated and a hard worker. Know not only how you want to look to the working professionals, but also how others see you. It’s important to be able to take honest criticism. As an illustrator, you are a hired hand and are collaborating with art directors from all different walks of life. Make yourself available to work with them, and know that often they come to you because they trust you to bring their ideas to life.
For becoming a rep, a lot of the same rules apply as becoming a professional illustrator. You have to have a great smile (ha!). Kidding! It’s important for anyone, in their respective fields, to build rapport, be interested in the work they do, and the artists they work with. This is a hugely codependent, symbiotic relationship that one has with their artists, clients, and the ever-shifting world around them.