Inside The Business of Illustration.

I've been reading this book called Inside the Business of Illustration by Steven Heller & Marshall Arisman. Steven Heller is one of the art directors for the New York Times and he's the co-chair of the MFA design program at SVA. Marshall Arisman is an illustrator and chair of the MFA degree program, "Illustration as Visual Essay" at SVA. I found some interesting points made in the book that I'd like to share. I'm almost half way through the book, and I know some of this may seem common sensical or you may already know it, but I hope it helps.

MA: "It is the illustrator's job, in my opinion, to develop a unique personal voice. Talent is not the issue; how illustrators develop a voice is the issue."
"it is the illustrators' job to present themselves clearly in their portfolio. It is not the art director's job to clear up the illustrator's creative confusion."
"Visually interpreting another's words is at the core of illustration. I am suggesting that learning how to illustrate your own words will strengthen your ability to visualize, in a personal way, the words of others."
"the system for young illustrators is not realistic. Four years of undergraduate study is not enough time for most people to develop skills, find their own visual voice, combine it with personal subject matter, and learn how to problem solve on demand."

SH: "I agree with you that most illustrators' portfolios are too generic, and always have been because their teachers push in that direction. I certainly see my share of portfolios that have a bit of this and that, which offers no insight into the illustrator's passions and interests. But, I've also seen my share of portfolios that are, well, so full of self-indulgent personal stuff that I often tell these people to actually go out and illustrate an existing story on their own edification so I can see how they address real editorial themes. So it's one thing to make work that is personal and another to make work that is practical."
"A great illustration communicates beyond the article that it is illustrating."

Tips/Dos & Don'ts:
SH: The best business practice an illustrator can bring to the job is respect for the art director's opinion, energy for the assignment, and excitement about a new challenge. [Marshall] you point out, they should come fully equipped with their own ideas and vision. This is their foremost commodity as business people. The tips I offer are simple. The portfolio is the illustrator's showroom, so make it sing! It should be edited smartly to reveal an ability to know how to tell stories. If the illustrator is a pure stylist, then it should be beautiful.

MA: At age twenty-eight, I began to make drawings about the things I knew something about. To put it another way, I began to make images that had meaning for me. I spent a year making drawings about guns. To my surprise, they became my portfolio. I now believe that the only way to make a portfolio is to forget about making a portfolio. Concentrate on a series of images based on your own list. Package your series in a promo piece that is the basis for your portfolio. Research the annuals for art directors who have bought images that you respect or have meaning for you. Send them your promo piece, drop off your portfolio. It doesn't matter where they are working, many of them will move to another position in a couple of years. Don't try and create samples for their publication. Show them who you are in your portfolio. Let them decide if your work is applicable. IF you present yourself clearly in your work, you will find that your client list is small but your relationships will be long lasting.
The other dos and don'ts I suggest to illustrators is don't try to be a lawyer. You must protect your copyrights and learn sound business practices but never lose sight of the fact that you are in a collaborative effort. Mutual trust is important. They hired you based on what you showed them. Give them back the level that is in your portfolio.