Animation — Hannah Jacobs
Represented by Totally Reps

Life as an illustrator is a mostly freelance affair, which means creative work is only half the job. Before you even lift a pencil, there's self-promotion, client cultivation, quoting, and usage rights. Not to mention the project management and bookkeeping that kick in once a job starts. Some artists thrive on the business hustle, others find it overwhelming, and that's where illustration agents can be game-changing. But what exactly do they do, what do they cost, and how do you land one? We spoke with some of the industry's leading agents and their artists to get the low-down on how representation works and what it can do for your practice. 

Popular culture is brimming with outrageous takes on the artist/agent relationship, ranging from scrappy family affairs (Atlanta’s Paper Boi & Earn) to ludicrous co-dependencies (Curb Your Enthusiasm’s Larry David & Jeff Green). If Californication, Entourage, and Bojack Horseman have taught us anything, it’s that agents are a one-stop shop for an artist's every personal and professional need, from manifesting six-figure contracts to bailing them out of the drunk tank or worse. 

Whilst truth is often stranger than fiction, back in the real world, the day-to-day substance of the artist/agent relationship is a little more subdued. 

Meet The Agents

So What Does an Agent do Exactly?

For Jeremy Wortsman, founder of the Jacky Winter Group, agents do almost everything apart from making the work. “We pretty much build an entire studio support system on demand,” says Wortsman. “Traditionally, this would be everything from actually sourcing new business opportunities, managing inbound requests, to quoting and scoping a job, hands-on project management, and all post-production duties such as invoicing, managing the license, obtaining permission to share the work, and circulating the work for future opportunities.”

“WE ULTIMATELY EMPOWER ONE ANOTHER”

This would seem to be a common job description, with Kat Irannejad, Director at Totally Reps, adding, “I find the most consistent, successful artist relationships happen when we brainstorm together, we troubleshoot together, we strategize together, and we ultimately empower one another.”

Jon Cockley, co-founder and agent with Handsome Frank, remarks that, “Once we find an agreeable project, we’re responsible for negotiating the terms and fees, project management, liaising between the client and the artist, and handling any logistic or financial issues that arise, during or after the process.”

There are, of course, limits as to what an agent is willing to do for you. Drunk, lost, and experiencing a creative meltdown at 4am? Most likely, they will not come to your aid because you’re on deadline. And even if they did, you have to wonder what the hell your agent is doing up at 4am anyway?

In the eyes of an agent, an artist should be an autonomous creative entity who, ideally, has their shit together and does not require too much handholding. You still need to promote yourself and your work, build a network, and grow your social media presence. You are, after all, a commodity, and simply being good at drawing isn’t enough to sell you to a client. Clients like to see that you’re on the up, that you’re taking control of your career, and getting your work out there.

Illustration by Hannah Jacobs. Represented by Totally Reps.

Ultimately, being represented is like having a navigator hop into the passenger seat. You’re still the one driving, you’re still pumping your foot on the gas. Yet now you have someone to help you read the road and maybe even sing along to some tunes with. What it definitely isn’t is a chauffeur-driven ride to success.

“It really is a reciprocal relationship,” says Wortsman. “An agent is only as good as the artist and folio that they have to work with, and it requires equal and ongoing effort and commitment from both parties.” Irannejad adds, “Artists should always be their own best advocate at the end of the day. The artists who I’ve found to have the most long-term, sustainable careers understand this.”

What's in It for the Artist?

No artist has ever said, “I’m in it for the admin,” and for many, the main benefit of having an agent is that it takes a whole load of work off their hands. This allows you to focus more time on what you love: making art. And as you start to work on bigger jobs, your agent becomes even more valuable, explains Eirian Chapman, an artist represented by the Jacky Winter Group. “When dealing with large budgets, difficult clients, or just the logistics of being hired for a large job with lots of moving parts, it’s a relief to be free to focus on the creative and not get bogged down in the paperwork."

True Grit's own Andrew Fairclough, represented by Jacky Winter Group adds that when projects go off the rails, agents really come into their own. "My agent has thoroughly saved my ass on more than one occasion where the client goes rogue. I don't know how I would have handled those situations without their expertise."

Illustration by Eirian Chapman. Represented by Jacky Winter

“In some cases,” adds Florian Schommer, also represented by the Jacky Winter Group “having representation can increase your chances of getting certain jobs. Especially when deadlines are tight, clients often turn to agencies because they know they can quickly access a pool of talented illustrators.”

And even in the age of social media, for artists like Canadian-based Ray Dak Lam, represented by Closer & Closer, having a dialed-in agent is a gateway to other territories. “The Canadian market for illustration is pretty small comparatively, so getting more exposure [via my agent] to other markets has resulted in more variety in client work and larger budgets.”

Cool, cool. What's this all cost though?

While everything probably sounds great so far, agents don’t come for free. The good news is, an agent really does want you to make money.  “We don’t make money unless our artists make money. Full stop,” comments Irannejad. “Everything else we’re doing to get to that point, making calls, marketing, newsletters, client meetings, travel, folio shows, conferences, social media/boosting posts, promos, and merch, often after hours and on weekends, too. That’s all out of pocket, and we’re not getting paid.”

"IN MANY CASES, EVEN AFTER YOUR AGENT TAKES THEIR COMMISSION, YOU’RE STILL MAKING MORE THAN YOU WOULD OTHERWISE.”

But when all that speculative work does pay off, how much do agents expect to make? In short, it can be as much as 35% of your fee. There’s a little wiggle room in that figure depending on the type of job, and different agents have different rates, but generally, a reputable agent’s commission will be between 20% for publishing projects and up to 35% for brand and advertising.

While that might sound like a hefty slice of cake, the reality is that a good agent is worth it. “In my experience,” says Fairclough, “a good agent’s commission will be more than offset by the larger fees they are able to negotiate, especially on higher caliber projects. So in many cases, even after their commission, you’re still making more than you would otherwise.”

Illustration by Andrew Fairclough. Represented by Jacky Winter

“We charge 33% on all projects with the exception of editorial, where we charge 25%,” says Cockley of Handsome Frank. “Unlike many agents, we don’t insist that our artists run all of their projects through us though. If a client contacts them directly and it’s someone we don’t know, our illustrators are welcome to keep that project themselves.”

These kinds of exclusivity agreements are quite common and usually cover only new clients you've never worked with before. They discourage large clients and creative agencies from shopping around on an agent's site for an artist, then cutting them out by going directly to the artist, with the hopes of squeezing them on price. In this situation, you really want your agent on your side. 

Full exclusivity, whereby an agent takes a cut of your existing clients as well as new ones, would be a big red flag for most artists.

Commissions and exclusivity can be a grey area and one to navigate carefully. If you do decide to exclude your agent from a job that came directly to you, just be aware that if you need to get them involved at any stage, they’re entitled to at least some commission. If you are unrepresented, it's important to do your research and ask the right questions when talking with prospective agents. Nobody ever screwed themselves by asking more questions than fewer.

Making Your Move

Okay, so, you’ve got a kick-ass portfolio, you’ve done the odd paid gig, and it’s time to hit up some agents. What are they looking for? How can you stand out? Are there any common mistakes that artists make from the get-go?

In terms of the work itself, Irannejad is drawn to specialists, not generalists. “It’s important that [the artist] does more than create aesthetically nice artwork, their work also visually communicates an idea, a feeling, a story, a sense of humor, something… special.”

Illustration by Ray Dak Lam, Represented by Closer & Closer

For Cockley, it’s also first and foremost about the work but, “we need to know whether the artist is open to being collaborative and taking art direction. Perhaps most importantly of all, we need to understand the person’s attitude and work ethic.

"GREAT WORK WILL GET YOU SO FAR, BUT WE NEED TO REPRESENT ARTISTS WHO ARE DEDICATED AND PROFESSIONAL.”

Now, before you go tattooing an agent’s logo on your face and sending them a thumbs-up selfie, gimmicks are generally not the way to get their attention. If your work isn’t a fit, no amount of theatrics is going to make a lick of difference. Often, the best approach is the simple one. If the agency has clear submission guidelines, follow them to the letter. Ultimately, you want to get an agent’s eyes on your work, and then hopefully your work does the rest.

“Literally just send a submission, it’s as simple as that! We look at every single one of them,” says Wortsman.

Short and sweet seems to be the common theme with this one. “Email a brief note,” says Irannejad. “We don’t need a thesis, we don’t need your CV, just say hello, introduce a little bit about yourself, perhaps some notable clients you’ve worked with, and include your website and Instagram or whatever social media you use.”

Illustration by Luis Mendo, Represented by Handsome Frank

Green and Red Flags

As artists are generally the ones reaching out, especially if they are at the early stages of their careers, it’s easy to feel flattered and grateful for any interest of representation, no matter who it’s from. It is, however, entirely up to you to choose who you are–and are not–represented by. The right agent can propel you to new levels of opportunity. While the wrong agent can simply take their commission for no real value-add. Or worse still, turn off the tap to any incoming work.

“A good agent will nurture their artist’s career, provide production assistance, and have a deep knowledge of usage rights and value-based pricing,” says Fairclough. “Early in my career, I had a couple of agents who were really just a booking service with no production assistance, budget management, or career growth. That didn't really work for me, but might be helpful for other artists just looking to supplement their schedule with the occasional "filler" job.”

For most of the artists we spoke to, one of the most important things to look out for when fielding interest from agents is their roster.

“You should be proud of the roster you’re aligning with,” comments Darren Shaddick, represented by Totally Reps. While Dak Lam caveats, “The roster should be inspiring to an artist, while also being one where the artist can fill a stylistic gap.”

Illustration by Darren Shaddick, Represented by Totally Reps

This is an essential component of a fruitful partnership. Generally speaking, an agent might love your work but already represent artists similar to you. While you might want to be part of this like-minded cohort, you’ll most likely find that you’re all competing for the same jobs. Instead, look for agents who have (in your mind) a tasteful and distinctive roster, but one that presents a hole for you to fill. Think of it this way, an agent who wants to sign more of the same probably isn’t massively motivated by finding you the most work possible. Most likely, they’ll keep you on the bench, and you’ll only get a kick at the ball when their go-to artists are unavailable.

Vibe-checking is also a must. You need to genuinely like your agent and vice versa. They also need to be totally aligned on the direction you want to go in. Some agents will say anything to sign you. Be wary of this and try to see past the BS and look instead at who they represent.

• Do their artists seem to get regular commissions? 
• Are the clients in line with who you want to work for? 
• Do they promote their artists through newsletters, social media, and their website?

“At the end of the day,” says Schommer, “one of the agency’s core roles is to represent you, so a clear, thoughtfully designed homepage is already a good sign.”

Going it Alone

For many, the sign of success is being able to say, “You’ll need to speak to my agent.” But do you, in fact, need one?

It all depends on you and your career level. For those starting out, an agent can fast-track your career, but at the same time, you might find that you get taken in directions you don’t want to go. And before you’ve really had the chance to figure out what kind of artist you want to be, you’ve backed yourself into a corner of simply delivering more of the same. Conversely, if you’ve built a successful career without representation, have a bulging book of contacts, and actually enjoy corresponding with clients, then great. Keep going! An agent might not be able to add anything more to your existing success.

Illustration by Florian Schommer, Represented by Jacky Winter

“Working without representation gives you full control over how you present your work, how you negotiate, and which projects you take on,” says Schommer. “That kind of freedom can be really valuable, especially for artists who enjoy the business side of things.” And Luis Mendo, represented by Handsome Frank, remarks, “If your work is mainly small editorial jobs, I don’t really think you need an agent.”

Having an agent has taken some artists to heights they would never have reached on their own. And all the artists we spoke to only have good things to say about their other halves. That said, agents are not for everyone. If you have the right people skills, confidence, and are super organized, then it’s definitely still possible to reach the top all on your own. But, as we know, being an artist is a solitary existence. While some people relish that side of it, others do need a bit more interaction and support. Artists are, after all, humans. Agents are, too. As Schommer reminds us, “Honestly, it’s just nice to work as part of a team.”

Want more?

Check out the full transcripts of our interviews with agents Jeremy Wortsman, Kat Irannejad and Jon Cockley here.