Feature Portfolio etiquette


Canongate’s Rafaela Romaya—said an approach for work should be mindful of the company in question: Romaya says “make it clear why you’d like to work with Canongate, but also why you’d be a good match... tailor [your folder] to the person/company you’re showing it to”; Jones agrees—“make sure [a portfolio] caters your designs towards that publishing house’s work”. Another thing the quintet agreed upon was the impor- tance of a well edited, concise portfolio. “New graduates oſten put in work they don’t really like,” says Payne, “because it shows off a particular skill. Don’t do it! The self-doubt will throw you off your game when you are presenting”. Her advice? “Create an aspirational folder. Be the job you want.”


Price concurs, stating: “Although it can be daunt-


ing to be selective and drop things from your portfolio, from an art director’s perspective, it is much easier to see how you could commission someone for a specific project when their portfolio really focuses on their best pieces.” And how many pieces will suffice? Fewer than you might think, according to Romaya. “If I like your samples I’ll go to your website or Instagram, etc, so send just your three best—and most relevant—pieces of work. It’s best to keep it focused. Keep the portfolio tight.” In terms of the skill set of those who reach out, both Ecob and Jones say they are rarely approached by tpog- raphers (“I’d love to be contacted by more,” Jones adds), while Romaya says she has been inundated with illus- trator submissions since her collaboration with Yehrin Tong, on Michel Faber’s The Book of Strange New Things, won a V&A Illustration award.


Going online And to the other side: how do in-housers look for new contributors? Well, the art directors reported using an array of digital weaponry to source talent. “It’s Twiter for me, and a good contacts list,” says Ecob, who adds: “The online communit of cover designers is brilliant. I try and contribute by sharing stuff I’ve found when- ever I can.” Price, whose list leans heavily towards the illustration end of the business, looks to more visual- led platforms such as Instagram (“I have found a lot of great people on there I don’t think I would’ve come across otherwise”) and Pinterest, as well as being sure to atend graduate shows and illustration fairs. (Jones seconds this.) Payne also backs Instagram and Pinterest, and keeps an eye on design blogs too, on which topic Jones has some useful pointers: Theo Inglis’ @abookinthehand Instagram (“the idea I wish I’d got round to realising”); blogs It’s Nice That (“for illustrators and designers”) and ButDoesItFloat; and online book-cover round-ups by The Casual Optimist—the alter ego of Dan Wagstaff, publicit and marketing manager at Toronto-based PGC Books—and Perfect Bound, The Bookseller’s own round- up of covers derived from its book-previewers’ monthly columns.


Romaya says she does use such vehicles, but cautions against insularit. “I also keep a weather eye out for anyone who has designed amazing album covers, film credits, fashion, choreography, art, architecture—past or present—and who’s sharing it, and how. It’s impor-


www.thebookseller.com Tips from the top Be online Mark Ecob, Unbound


Even if you’re living off-grid, doing your illustration up a mountain, a digital presence is essential


Be specific Nicola Price, Wide-Eyed Editions


If you have a love for a specific area or genre, it is great to show that off... Sometimes it is good to carve out a niche


Be proud James Paul Jones, Oneworld


I’m also a fan of seeing the odd killed cover... It shows the different ideas behind your work, and also that you’re proud of what you produce


Be concise Donna Payne, Faber & Faber


A well-edited and consistent portfolio always creates a lasting impression. Create an aspirational folder. Be the job you want


Be honest Rafaela Romaya, Canongate


If you’ve never designed a book, but are great at relaying narrative, then say so. I’ve worked with artists from all disciplines, many of whom have never worked in publishing, with great results


tant to be visually aware of what your audience is seeing and responding to, as well as how. Books don’t exist in a vacuum: they are part of the global cultural dialogue. It’s important to keep yourself relevant and not forget your audience, to remain outward-looking.” In the context of an increasingly vast cross-media


Rafaela Romaya’s award- winning link-up with


illustrator Yehrin Tong on Michel Faber’s The Book of Strange New Things has increased the number of unsolicited submissions she gets from illustrators, she says


storytelling landscape, this seems to be sage advice. And yet, all five creatives would agree that a landscape, enabled and facilitated by technological and commu- nicative advances, has not altered the core criteria they seek: namely, qualit. “There is just too much out there to keep ahead of,” says Ecob. “I have good relationships with image libraries and illustrator agents, who have a nose for finding the right supplier if I can’t. The main thing is the qualit of the work, and [forming] an instant connection with the concept. Don’t over-design,” he cautions, and adds with a grin, “and avoid low-res imagery and tpos”.


27


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40