THE ARTIST AND REP RELATIONSHIP: HOW TO FIND THE RIGHT FIT By Jo Ann Miller, representative for American Showcase

	It's a relationship that's part parent, part teacher, part cheerleader, part friend––and it can change the way you do business. If you're in a satisfying artist-rep relationship, you need read no further. But, if you're not being rep'd and are considering it, or if you're looking for a new rep, here are some important things to consider in this very important relationship. Start by asking yourself some basic questions: Do I need a rep and how do I know? How do I go about getting one? And once I've found a rep, what can I expect from him or her? Carefully examine your portfolio, your current client base, your pay per job/overall income, target audience for potential jobs, and marketing plans for reaching this audience. Ask yourself, "Are you determined to be the driver of your career engine?" Both methods are valid, but it is your career–– so, you must decide who you want to control it. Ask yourself these questions:
	1. Do you communicate well with clients? Are you able to negotiate the payment and usage rights? Or does this make you uncomfortable and would you prefer to let someone else handle this role? 2. Are you willing to give up 25-30% of your earnings as commission? 3. Do you have a solid style yet or are you still developing your talent? 4. Do you understand that the rep can only help you to a point and that it's still up to you to deliver the goods?
Society of Illustrators San Diego Society of Illustrators San Diego Art Illustrators	Santa Fe based Illustrator Joel Nakamura says, "I think it's important to remember that the rep works for me–– not the other way around." Do some research to find a rep who is right for you. Look at the major industry publications, like Communication Arts, Print, How, Step-by-Step Graphics, and American Showcase. Note artists who are getting recognition, and see who their reps are. Look thought source books and magazines like Archive and Select to see what their pages look like. This is a pretty strong indication of their business and design and sensibility. Ask yourself if you'd like to be a part of that group, and what the caliber of talent is among that group's artists. Then hit the phone–– call artists in a rep's group to ask them about the rep. Find out where the rep spends promotional dollars, what he or she is like to interact with, how hands-on he or she is, and any other issues of concern to you. Keep in mind that while word of your fellow artists is a good indicator of a rep's performance, an art director's advice is based on a different agenda–– the client's agenda. Consequently, he or she usually has the least amount of real information about how reps operate with their artists. When you're ready to contact an art rep, personalize your letter and portfolio. Determine what the rep will want to see, and what makes sense to show.
Illustration Commercial art Society Artists	Never send a mass mailing with the sentiment "Dear Representative"–– it shows lack of attention to detail. If a rep solicits you, don't let the flattery cloud your judgment; make sure the relationship is a partnership, and is not out of balance. San Francisco-based Artist Rep Jim Lilie says, "Aside from complete truest, the most important asset to an artist-rep relationship is shared common goals. These include the areas of aesthetics as well as finances. A mismatched partnership can achieve short-term success, but if you're in it for the long haul, courtesy and respect for each other's opinions will insure a fruitful relationship." Finally, remember that patience is required in any new relationship. Take a "wait and see" attitude, to allow the relationship to develop and grow. It's unrealistic to expect overnight changes and to put the success of your career in another person's hands. Bottom line, good work–– whether promoted by someone else–– is the key to a solid career.
	Jo Ann Miller can be contacted at: 1-310-410-1670 or email: [email protected] HomePage One