Feature illustration by María Jesús Contreras

Behind every great illustration is an art director who championed it. They're not just clients, they're creative collaborators who can help shape your ideas and career trajectory. Get it right, and you'll find them sliding into your DMs with dream projects. Get it wrong, and you'll be left slinging cold emails and crossing your fingers your portfolio doesn't go straight to the trash. 

We interviewed 6 top art directors in publishing, music, design, and tech to get the inside story on how they work, what ticks them off, and how illustrators can move from the "maybe" pile to the "must-hire" pile.

So What Do Art Directors Do and Why do They Matter?

An art director (AD) oversees the visual aspects of a project across various media, including publishing, advertising, animation, gaming, and tech. Their role is to translate strategically minded creative concepts into compelling visuals. They write briefs and provide direction and feedback to illustrators, designers, photographers, and typographers.

ADs often come from a design background and strongly understand creative craft and production. Sometimes they are illustrators themselves, like James Abercrombie at Mailchimp. “I do a lot of illustrating and also art direct freelance illustrators to create in the Mailchimp style,” says Abercrombie. “I also art direct the real-time social team, and we’ve been fortunate to work with great freelance illustrators in that space as well.”

Mailchimp brand illustrations by (top row) Buck, (bottom left) Mailchimp internal team (bottom right) Franz Lang. Art direction by James Abercrombie.

Depending on the organization, ADs commission artists almost daily or just a few times a year. Book publishers, for example, need a robust roster of illustration talent, as each book requires its own visual identity. “We have thirty new cover briefs each month,” says award-winning art director Suzanne Dean of VINTAGE Penguin Random House. “These briefs span genres from nonfiction to poetry and fiction.”

Meanwhile, a company like Mailchimp, with a well-established brand identity, often relies on in-house teams of art directors and illustrators because “The time it takes to put a (freelance) illustrator through our corporate hiring system is prohibitive, plus you have to brief them and walk them through the brand and illustration guidelines. We generally need art faster than that process allows,” says Abercrombie.

Beyond commissioning illustrators, a good AD is always on the lookout for new talent and trends. “I look to exhibitions, graduation shows, Instagram, blogs, agencies (who sometimes present their artists’ work), and Pinterest,” says Dean.

This is great news for proactive self-promoters. If you ensure your work is visible in the right places, it will get noticed, even if the call comes months or years later. “You may not receive replies from everyone, but you’ll eventually connect with the right person,” says Chris Siglin of the merchandising agency TSURT, which represents bands such as Pearl Jam, Minor Threat, and Pixies.

If you do get contacted out of the blue by an AD, it’s worth asking them how they came across your work. Be more analytical about where and how your work gets seen. If you start noticing a pattern, pay attention to it!

How Do You Get on an Art Director's Radar?

Unsurprisingly, nearly all the ADs we interviewed cited Instagram as their go-to platform for finding new talent. However, other platforms were mentioned that are worth keeping in mind. “I rely heavily on Pinterest to save web pages of artists,” says Susanna Hayward of New York Magazine. “I also love keeping up with articles on It’s Nice That. They feature incredible creatives.” It’s Nice That is a favorite for Abercrombie too, who also mentions, “Pinterest, Are.na, and Juxtapoz. I wish Grain Edit was still around. Grain Edit was awesome.”

“IT’S BEST WHEN ARTISTS MAKE IT AS EASY AS POSSIBLE FOR ME TO VIEW THEIR SAMPLES. I DON’T NEED A HUGE PORTFOLIO—JUST A FEW SAMPLES TO GET AN IDEA OF WHETHER I SHOULD RESEARCH THEIR WORK FURTHER.”

This is good news for you. Your Instagram and Pinterest are fully within your control and should be kept constantly updated. Also, make it a habit to submit work to major blogs and magazines. While you might not always feel the eyes on your work, rest assured, your work will be getting seen if it’s out there.

There’s also a slightly more old-fashioned way to get on an AD’s radar that remains effective: email. “We do see every email! And sometimes it’s at the exact right moment,” says Hayward. “I recently worked with artist Alvaro Dominguez because I needed an illustrator in his exact photo-collage style, and he emailed me his portfolio the same day.”

Spread from New York Magazine featuring Illustration by María Jesús Contreras. Art direction by Susanna Hayward.

Dean adds a caveat: “It’s best when artists make it as easy as possible for me to view their samples. I don’t need a huge portfolio—just a few samples to get an idea of whether I should research their work further.” Shinya Dalby of surf media company Stab says, “Having the guts to DM or email properly works. Be polite, don’t say too much, and present a concise but strong body of work.”

Ultimately, getting spotted is up to you. Yes, occasionally the AD gods might swoop in because a friend of a colleague mentioned your work, but generally, if you’re not putting yourself out there, you won’t be seen. Self-promotion can be excruciating, but for an illustrator, it’s do or die.

What Do ADs Look for in an Artist?

It goes without saying that ADs seek work that fits the brief, that’s prerequisite number one. But often, you won’t be the only shortlisted artist and what each AD is looking for can we wildly different. So, what gives you the edge?

"A lot of times we're looking for humor within an illustration" says Haward. "An artist that can read a piece and put their own personality and spin onto something.

“Typography!” enthuses Siglin. “If you’re working with a band or brand, you can have the greatest art in the world, but if the typography doesn’t come together, the entire piece can fail.” Dalby looks for “style and mystery” and avoids “face-to-camera creators (eg, TikTok influencers) who are louder than their art.” Dean adds, “I need an artist who can listen and take direction. If someone isn’t willing to work with you and make corrections, things often go pear-shaped.”

True Grit's very own Andrew Fairclough states, "You're looking for clues that an artist can not only deliver great work but also has a sense of responsibility, can take direction and deliver work on time. On larger (riskier) projects, this might mean looking for who else has commissioned the artist previously as reassurance."

This, of course, creates a challenge for up-and-coming artists who have yet to land many paid gigs. But every little project counts, adding to the perception that you've got your shit together and can deliver for your clients. 

Typography maketh the poster. Pearl Jam tour poster illustration by Cristina Daura. Art direction by Chris Siglin.

Abercrombie, meanwhile, emphasizes diversity: “I try to bring on illustrators from underrepresented communities. There’s so much power in diversity. Hiring illustrators with perspectives and influences different from my own has been one of the greatest joys and honors of my career.”

Even if you’re not from an underrepresented group, drawing on diverse influences and cultivating surprising perspectives is a must. Blindly adhering to ideas anchored in outdated tropes or culturally insensitive perspectives is a one-way ticket to the ignore pile.

 

“I’VE DEALT WITH INSUFFERABLE EGOS BEFORE, SO DON’T BE A JERK, MIND YOUR MANNERS, AND STAY MODEST.”

What Turns Off an AD?

So, an AD has shown interest in your work and wants to discuss the brief. Excellent! Here’s how to avoid fucking it up.

“Recently, an artist asked me to fill out a questionnaire,” says Dean. “This made me doubtful, and I chose someone else because I had provided a full brief and manuscript.” Dalby adds, “I’ve dealt with insufferable egos before, so don’t be a jerk, mind your manners, and stay modest.” Siglin has a no-second-chances rule for artists who “are late and provide numerous excuses for their tardiness.” Abercrombie notes, “Extreme time zone differences can be a challenge on tight-turnaround projects, though it’s fine for projects with longer lead times.” 

Just two of the 30+ covers per month Suzanne Dean is responsible for at VINTAGE Penguin Random House.  Illustration by Noma Bar (L) and Bryn Perrott (R).

Fairclough reminds us to be cautious about taking on too much work and not being able to hit deadlines. “It’s easy to get excited about the offer of work and a new brief, but overcommitting never works out well for anyone. If you don’t think you’ve got the bandwidth, be open and honest about it and see if there’s flexibility in the deadline.”

The main gripe ADs have with artists is when they don’t thoroughly read and understand the brief. A good brief guides your creative energy within carefully set parameters based on a strategic vision. Going in another direction entirely is a recipe for rejection. No matter how cool your alternative idea is, you’re inviting more work, or worse, less work.

That said, it’s normal not to nail it on the first try. The key is to “communicate well, bounce back, and deliver,” says Dalby. An anonymous source warned against “sending too many sketches. If you can’t edit yourself, it shows a lack of confidence in your work.”

Dealing With Feedback

No matter how tight the brief, there’s always a little room for subjectivity and interpretation. That is, after all, part of the reason you got hired. The AD wants you to give the project a touch of your je ne sais quoi. This is where discussion and bouncing around strategic ideas is totally fine and expected. But no AD wants to get blowback for their feedback simply because you think what you did is cooler. This requires a delicate balance of selling your ideas by communicating effectively while being open to feedback.

"For Mailchimp's core illustration style, the tone can be quite tricky," says Abercrombie. "Some illustrators want to come in hot with the absurd nature of it, and they'll send you a dog with a mustache dressed as a clown riding a unicycle. We are constantly trying to rein that in. We all love the cheeky nature of Mailchimp's brand, but the job is to make sure the story or big idea comes first, then we can find a way to make it surprising."

Event poster, signage, and trophy by Siobhan McCarthy for Stab's Stab High Japan surf event. Art direction by Shinya Dalby.

“Sometimes, you’re going to get feedback that you don’t necessarily like,” adds Fairclough. “Your work is always going to be evaluated against the brief, and you need to be a little removed from your work in that sense. You are a commercial artist after all. If you're resistant to feedback, then you’re probably better suited to focusing on fine art or creating personal side-projects to scratch that itch.”

If you ever find yourself wanting to stick it to ‘em, though, take a breath, go over the brief again, and ask yourself if the feedback is fair and considered. Ask yourself if the AD is trying to achieve a goal that you may not even be aware of. If you’re working with a good, experienced AD, then nine times out of ten (probably more) the feedback will be justified and will improve the resulting work.

And if they're objectively wrong? Suck it up, deliver the best work you can, and don't let it get you down. Some things are simply out of our control. 

Illustration by Blaze Ben Brooks for True Grit's Beat Tones halftone brush set. Art direction by Andrew Fairclough.

What Does The Future Hold For Art Directors and Illustrators?

Creativity is currently facing one of the most significant shifts since digital production: AI. How you incorporate this technology is your choice, but all our interviewees had strong thoughts on its impact on art direction. Anecdotally, we know many design and ad agencies are using generative AI to speed up the concepting and mood-boarding phase of a project, but rarely for finished work. But the impacts don't stop there.

“We’re constantly fighting against AI, bots, and print-on-demand services that steal our clients’ work and post it online for sale within minutes,” says Siglin. “This has been happening for years, but it’s accelerated at an alarming rate this year, and we anticipate it will only worsen.”

AI IS TRAINED ON THE WORK OF THE PAST, BUT IT CAN’T REPLICATE WHAT DOESN’T YET EXIST

“Generative AI is a pestilence killing jobs that would’ve gone to illustrators,” says one AD who asked not to be named, adding, “Pre-vis and storyboards can now be prompted by anyone who thinks they’re creating art. AI is incredibly unethical, owned by the worst people who want to take your livelihood, turn you upside down, and shake the money out of your pockets to buy another Cybertruck. Truly, fuck generative AI.”

Another unnamed AD adds, "I'm hiring you for your creative ideas and abilities. I've had artists ask if they could use AI in projects, and we've pulled out altogether."

While it may be reassuring to hear that many ADs don't want to see AI-generated work replace the talents of real human artists, their corporate overlords and shareholders may have different ideas. Nonetheless, it stands to reason that any artist attempting to pass off generative AI as their own artwork is playing with fire. The best ADs in the game make it their business to know who is who and what is what, and they're not looking to hire you for your prompting skills.

“Acceptance of emerging technology is important,” concludes Shinya Dalby. “Use it to your advantage, like a power tool versus a hand tool. Just fuse it with your own take, and we’re golden.”

In the social media age, illustration styles can get ubiquitous quickly, especially when incentivised by algorithms and replicated by AI. A few minutes spent on TikTok or YouTube reveals an ocean of copycat creators making identical content with identical perspectives. The good news is that this ubiquity creates an opportunity to stand out and be noticed by making work that no AI prompter could ever make. AI is trained on the work of the past, but it can’t replicate what doesn’t yet exist. So if you want your work to get noticed, now’s the time to be more unique, more insightful, and, most importantly, more human.

Featured illustrators:

María Jesús Contreras | Buck | Franz Lang | Cristina Daura | Noma Bar | Bryn Perrott | Siobhan McCarthy | Blaze Ben Brooks