Demystifying the Illustration Portfolio
By Christine Thornton
What should go in an illustration portfolio? It’s a question all illustrators ask when they start out. Then as the years go by and your body of work grows, pieces are added and subtracted, and you ask the question again. . . and again. An illustrator’s portfolio is ever changing, but it should always be the best possible representation of your talent. Ideally, when art directors see your portfolio, they are dazzled. So, how do we get there?
Format basics:
First, what is a portfolio? A portfolio is a collection of your best work, perhaps 12-20 pieces, most in color, with some black and white if that’s a strong suit of yours. Most illustrators nowadays have on-line portfolios, either on their own websites or as part of a group site like www.picturebook.com or www.childrensillustrators.com.
“Portfolio” also refers to a hard copy of your work that can be mailed to publishers. This mailer portfolio should consist of color copies of your art, never originals, and should be clean, professional and a standard size like 8.5-by-11 inches. When you send promotional samples to publishers, you can mention your on-line portfolio in hopes that an art director will visit, or offer to send them a hard copy.
Starting out:
If you’re just starting out in illustration, you might have a big leather art school portfolio with charcoal drawings, or maybe samples from another commercial field like advertising or graphic design. If either is the case, you may want to start fresh with all new pieces for an illustration portfolio. This clean slate can actually be an advantage, because you can plan your entire portfolio cohesively rather than piecing together art you already have.
Diana Kizlauskas, a member of the Chicago Area Illustrators Network, has a portfolio that’s an excellent example of this cohesive approach. Viewing her portfolio is like reading a complete, beautifully illustrated book. Each spread celebrates a different culture. One half of each spread depicts a lavish tabletop overflowing with bountiful ethnic food and ornate tableware and decorations. The other side of each spread has a companion image showing people from that same culture dressed in traditional clothing, dancing, talking, laughing, and interacting. Diana appropriately titled her portfolio “World Table.” She has had many illustration jobs come her way because of this carefully planned, exquisite portfolio. (See Diana’s art at www.dianakizlauskas.com.)
Subject Matter:
Whether you choose a focused theme like Diana’s or a wider variety of subjects for your portfolio, there are some rules of thumb to keep in mind. Basically, a children’s book illustration portfolio should show subjects that children enjoy and that commonly appear in children’s books so publishers know you can draw these subjects well. A good portfolio shows people of varied ages and ethnicities, with a special emphasis on children, in proper proportion to each other. To show that you can keep a character looking consistent over several images, you might include a series of one character performing different activities, preferably with varied facial expressions and body language. Avoid “presentation” poses where the characters appear to be posing for a camera. Instead, show characters in action and showing emotion.
Animals are another popular subject, both naturalistic and anthropomorphized.
Setting:
Include detailed settings for some of your illustrations. Remember your audience, and craft a visual world that is engaging to a child. The best illustrations are those we wish we could enter. Consider showing a variety of settings like a neighborhood, a city scene and a classroom.
Technical skills:
The illustration field is very competitive. Go to the library or bookstore to examine current picture books; then take a good hard look at your art. Does the quality of your work measure up with what’s being produced today? If your drawing skills aren’t proficient, an art director will spot it right away. Keep practicing, and you will continue to improve. Strive to create characters that are engaging. Experiment with your color palette, keeping colors clear and bright. Try showing an unusual light source to create a mood. Push yourself artistically.
Style:
Your unique style is what gets you noticed and sets you apart from other artists. When I started out, I remember wondering, “What should my style look like?” Eventually, my style just kind of happened. Style is the way we draw. Your style, like your portfolio, will constantly develop and evolve.
But what type of portfolio is most likely to bring me work, you ask? Is there a silver bullet that will lead to publication? For one of Anne Sibley O’Brien’s columns for the national SCBWI Bulletin, she interviewed art directors and compiled the following list of what they hope to see in an illustration portfolio:
• A sense of storytelling
• Pictures that set the mood
• Central things that children love
• A full, rich look
• A sense of character
• A sense of anticipation, making the viewer want to know what happens next
• Illustrator’s trust in her or his own skills
• Consistency in character
• Authenticity
No silver bullet here, perhaps, but if our work embodies these characteristics, our portfolios will truly shine.
Christine Thornton illustrated her first picture book in 2006, Heading to the Wedding, written by Sara Shacter and published by Red Rock Press. Visit her website at www.christinethornton.com
