How I first got started in illustration, how I got my first jobs, is the question I most often get from young artists. Which is understandable, because it can be confusing as to how to get started when you’re 18 and have zero idea as to get from where you are to where you want to be.

There are many paths to being an illustrator. But for me, I knew I wanted to be the best artist possible, no matter what I chose to do with it, so I studied painting.

After that, I built up my portfolio to the point where I felt it was ready (what to include, and tips is a topic for another post) which took years haha, and then I approached agents, or artist’s reps. I signed on with an agent, and, for me, that was where things took off. There’s a debate amongst illustrators about whether to have an agent or not. For me, it was a great help, initially, to have someone on my team who knew the ins and outs of illustration, who knew contracts, who had a relationship with publishers, etc. And I got work, lots of it. Getting an agent really was the turning point for me. I’ve worked in children’s illustration almost exclusively, and in children’s publishing, as far as I can tell, publishers seem to want to work with agented illustrators exclusively. That is, unless you already have superstars status in the industry. And I can understand why publishers would want to work with agents, because publishers have probably learned it’s just better to work with knowledgable agents, who tend to be generally more informed than illustrators are in the business side of things. The debate is a topic for another day, but the point here is it was key for me in getting work.

The image attached is one of my first portfolio pieces, an illustration for Goldilocks. I think it’s a good painting, and you can see the fine-artsy feel to it. I showed this painting at an SCBWI event where Mark Teague was the keynote speaker. He was an amazing speaker, but I overheard him criticizing my portfolio, saying the characters didn’t have any life, they weren’t dynamic. And he was absolutely right. This Goldilocks painting, while a good painting, lacked some qualities that differentiate good illustration from painting. Illustrators are telling stories, and the characters drive the narrative. If they’re not engaging, that’s a problem.

Anyway, I’ve progressed from then. Thanks Mark.