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PORTFOLIO TIPS
It s a jungle out there, so heed Philip Straub s
sagely advice and make your portfolio the best
WOW FACTOR
Any portfolio should have at least a few illustrations or concept paintings that
have that special something about them, that thing that creates a  wow! factor
1when viewed. This can be an intangible thing, but it s always these images that
people tend to gravitate to. Another way to establish which of your images these
are is to regularly enter paintings into juried competitions such as The Society of
Illustrators, Spectrum and Expos . The images that consistently get in those
competitions should be the anchor points in your portfolio  the more the better.
LESS IS MORE ANATOMY
This is something I talk about with all the art An artist s portfolio should have a solid
2directors and artists at the studio where I 3selection of images that showcase the human
work. We see a lot of portfolios that have a large form. While learning, many students are told to
selection of mediocre pieces that are watering down include their life drawings in their portfolio to show
the solid ones. You ll want to really go through your their abilities. I suggest that professional portfolios
portfolio and be constantly editing out the weaker keep the academic-looking anatomy images to a
works. A potential employer would much rather see minimum. A good approach is to focus on finished
eight solid pieces than 40 pieces of which only eight illustrations that showcase the human figure in a
are exemplary. Ask your friends and colleagues what variety of poses and settings, including: full figure
their favourite images are from your collection and illustrations, multiple figure illustrations, male and
apply that feedback to your final selection. So, in female subjects, and portraits of many age groups
short, think quality not quantity! and ethnic types. Again, only show your best work.
VARIETY OF SUBJECT MATTER
The larger the variety of subject matter you depict in the illustrations that
make up your portfolio, the more confidence potential employers will have
4that you can handle any assignment. Since potential employers tend to be
looking for a specific image (freelance) or subject matter (concept art) when hiring,
a variety of subject matter within your folio will increase the odds that you will get
that job. I can t tell you how many times I ve been hired based on a single image in
my portfolio which, interestingly enough, tends to lead to even more assignments.
Looking at this from the concept design employers perspective: including a variety
of subject matter proves, once again, you have a solid visual library to draw from.
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MASTERY OF TWO OR MORE DISCIPLINES
A good portfolio should showcase a variety of subject matter, but it also
shows a strong understanding of the key skills needed to succeed as an
5illustrator/concept designer. The key skills necessary for a commercial artist
to excel are: character design, environment design/staging, storyboarding, matte
painting, graphic design, and industrial design. Of course, it s unrealistic for an artist
to be perfect in all of these disciplines. Therefore, I suggest to budding commercial
artists that they focus on a mastery of two. Focus on really blowing your potential
clients away with amazing character and industrial designs if they re your strong
points, but do include your best examples of the other skills, too.
KNOW YOUR TARGET MARKET STORYTELLING
When you begin putting together your In this modern age of concept design and digital illustration, one of the things I see missing from so
6professional portfolio, it s important that you 7many of the student and professional portfolios out there is the ability to tell a story with their images.
research the markets you d like to work in. Before, It s important to be able to render a variety of subject matter in a range of styles but, if your images lack soul
during, and after the initial creation of your portfolio, and rich content, solid technique will only get you so far. Make sure you think about what you want your
continuously look at what s successful in the markets audience to feel when they view your paintings and you ll have an edge against the competition.
and genres you re interested in. The more you
research the competition and trends specific to your
goals, the better prepared you will be. For example, if
science fiction and fantasy are your genres, go to the
bookstore and look at what s being produced.
KNOW YOUR COMPETITION
It s important you re constantly looking at
8what artists are producing in the markets
you re interested in. If you have favourite artists out
there you admire, look at the type of subject matter
they re focusing on. These are the people you need
to compete with. You need to be, at least, as good as
the artists working& so stack your folio against the
pros and do an honest assessment.
INCLUDE YOUR
PUBLISHED WORK!
MAKE SURE YOUR The more solid portfolio
FUNDAMENTALS ARE 10samples you have of
9 WELL REPRESENTED actual illustrations used for games,
Your folio should include a variety of composition films, book covers, magazine covers
approaches: images utilising one, two and three- and so on, the better chance you ll have
point perspective, images applying different colour of getting hired. By including
theory methods, images applying solid value something the client recognises, this
structure, and a good helping of depth, atmosphere creates a direct connection between
and scale. Showing a command of illustration you and them, and can push you up the
fundamentals in your portfolio is, obviously, one of list. Just make sure the work you do get
the most important factors to acquiring a job in the published is your best. You wouldn t
illustration and entertainment fields. Keep practising, want a potential client to remember
studying, and challenging yourself every day. you for a bad image after all.
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