What to do when you make art with diverse genres?

[MythrilWolf]

So, the question is: If you make art that is very diverse in subject matter & genre how do you market yourself?

For the sake of argument lets say we're talking about 2D artists who are freelancing their drawing and painting skills, and their skills are top notch. If an artist that makes both dark and cute fantasy illustrations; childrens book illustrations and graphic novel illustrations meant for teens; pinups and cartoons; horror concept art and fine art still lifes; political editorials and sci-fi art; and so on...what is the best course of action or in your opinion? Or what have you done, if you've had to deal with this issue in your career?

What I see artists doing:

-Make pseudonyms
-Each pseudonym deals with specific genre and audience

-Use the same name and same website for multiple genres, but uses the same style for most artwork, or it appeals to the same audience. This is usually when the work has some sort of common denominator, so that even if the subject matter differs people still generally know what to expect from the artist (I'm guessing).

Issues to be concerned about:

If an artist separates their works with psuedonyms:
-People can find out that two fake names represent the same person.
-Separating your work can be expensive in every which way: multiple websites, two different marketing strategies, networking is difficult, etc.. Basically you can squander your efforts.
-If I remember right most artists send portfolios to employers that are specifically tailored for a certain job. If this is the case, why would there be a need to separate an entire online persona into 2 separate ones?
-If we create pseudonyms do we not create a need for them? When women used to use pseudonyms because only men were taken seriously, did they not help create the need for women to use pseudonyms? Does this do more harm then good or good then harm?

If an artist has all art made under the same name:
-Does this confuse people so much that it would hurt your employment opportunities, or would it enhance them since you are versatile?
-Would it hurt you personally or socially in any way to be associated with all of your work rather then a certain portion of it?


Some info I've found so far:

http://artorder.blogspot.com/2010/10...y-subject.html

http://community.artspan.com/showthread.php?t=4032

http://blog.penelopetrunk.com/2007/0...he-harassment/
(Not art, but I felt this pointed out some interesting considerations)

Online Portfolios:
http://www.glasshousegraphics.com/

Thanks for reading, and I'd love to hear your opinions.

[Atreides]

For every different type of art, style or content, you have to have a separate portfolio of 8-12 or more pieces. That's a lot of work to spin off a one portfolio section.

Make the different portfolios easily accessible from the front page. If there is a major disconnnect between the markets, consider a different website. I have two portfolio sites, one for game art and SFF stuff, one for kids books. My SFF stuff isn't too dark so there is no need to obfuscate the fact that I do that. If I had pinup girls, hentai or extreme violence, I would probably use a pseudonym and not link between the sites.

Learning to build websites is one of the best investments an artist can make.

[QueenGwenevere]

What the hell, my whole career has been about being diverse...

I don't see a need for totally separate identities unless you're doing, say, porn + anything for kids. For sending out portfolios or samples, just mix-and-match appropriate pieces to suit the client (drop-sleeve portfolios are perfect for this.) For websites, you can divide it into appropriate subsections. Or, perhaps even better, have a main site with links to mini-portfolios that can be bookmarked or linked separately (one of my clients does this - they're a design firm with a broad range of work, from corporate to kids.)

Actually, if you market yourself as more of an agency than as an individual, that could solve all your problems right there. People expect variety from an agency.

[MythrilWolf]

For every different type of art, style or content, you have to have a separate portfolio of 8-12 or more pieces. That's a lot of work to spin off a one portfolio section.

Make the different portfolios easily accessible from the front page. If there is a major disconnnect between the markets, consider a different website. I have two portfolio sites, one for game art and SFF stuff, one for kids books. My SFF stuff isn't too dark so there is no need to obfuscate the fact that I do that. If I had pinup girls, hentai or extreme violence, I would probably use a pseudonym and not link between the sites.

Learning to build websites is one of the best investments an artist can make.

Thanks for the reply. For the most part I agree it's a good idea to keep things separate one way or another. If I can pick your brains for a sec, why would you separate the websites and have a pseudonym if the markets you appealed to were extremely different? Do you know if artists are ever not hired because of certain subject matter they make, or is it more or less a precaution?

Actually, if you market yourself as more of an agency than as an individual, that could solve all your problems right there. People expect variety from an agency.

Hm...I hadn't even thought of an agency. That's a neat idea. Why hadn't I picked up on this? X)

[QueenGwenevere]

If I can pick your brains for a sec, why would you separate the websites and have a pseudonym if the markets you appealed to were extremely different? Do you know if artists are ever not hired because of certain subject matter they make, or is it more or less a precaution?

I think the only thing that would require "caution" (or pseudonyms) is something extreme like porn...

Otherwise its mostly about marketing. If a client does kid stuff, they're only going to be interested in seeing kid stuff, so you want to make it easy for them to see just your kid stuff without having to dig through a lot of unrelated material. It's okay if they know you do other stuff, but they won't want to be bothered with it because they're simply not interested.

Of course, if you have a market/genre/style-specific section or mini-site, you need to have enough consistent pieces to fill it or it won't be very convincing... but that goes without saying.

I don't think I've heard of anyone losing work because they work in diverse fields.

[Atreides]

Yeah what Guenevere said. For convenience of ADs it's better to have the relevant stuff right in front of them with no distractions.

You don't need to separate websites and have pseudonyms really unless the kids market is involved. The kids market is sensitive to different social pressures because kids could google you and see your icky work. Publishers won't want to take the risk of that for a start.

Then you have to remember that different industries attract different sorts of people to work in them. Game industry AD a 35 yr old man who likes sci fi sees your babealicious alien war pic and says cool. Kids publishing editor, a 45 yr old woman who likes Margaret Atwood sees the same pic and thinks you're a sweat soaked pervy moron. You have to project the right image of competence for each field and those images can vary a lot.

[MythrilWolf]

I see what you both are saying, and it makes sense. I personally don't think it should matter what an artist does as long as you can show an employer you can do the work you should be good to go. But I have no personal experience on the matter so I figured it couldn't hurt to ask. I've discovered online galleries that were made by the same person just using psuedonyms, and started to wonder why they felt the need to do that since they appealed to adult audiences one way or the other.

I heard once that Jhonen Vasquez's Invader zim was cancled because younger audiences were beginning to look for his other works and found Johnny the Homicidal Maniac. If I remember right, in an interview he says this is just a rumor and isn't true, but it seems to be up in the air for most people. I haven't found another case like it since.

Anyway, thanks for the input!

[arenhaus]

It depends on what you are trying to do. There are certain markets where being 100% consistent is a prerequisite, for instance, editorial illustration and the like. Art directors in that area typically will look only for stable, consistent style - diversification will hurt your chances there. Problem is, you are basically betting your income on one gimmick. And the bigger problem is, if these art directors find out you've been working under several pseudonyms, that will hurt your chances much, much worse. "Out of the job" worse. (Hadn't tried that myself, this is what I heard from several people who work in that market.)

On the other hand, there are many more markets where diversification is not a vice. So don't bother trying to hide. Just keep several thematic sections on your portfolio site. You still have a "style", it's like handwriting and cannot be avoided; the difference is, this style is not limited to a single way of drawing noses. Focus on having a clear voice and being good; then it won't matter as much whether you are making a line drawing or a painting or an abstract design.

[MythrilWolf]

It depends on what you are trying to do. There are certain markets where being 100% consistent is a prerequisite, for instance, editorial illustration and the like. Art directors in that area typically will look only for stable, consistent style - diversification will hurt your chances there. Problem is, you are basically betting your income on one gimmick. And the bigger problem is, if these art directors find out you've been working under several pseudonyms, that will hurt your chances much, much worse. "Out of the job" worse. (Hadn't tried that myself, this is what I heard from several people who work in that market.)

On the other hand, there are many more markets where diversification is not a vice. So don't bother trying to hide. Just keep several thematic sections on your portfolio site. You still have a "style", it's like handwriting and cannot be avoided; the difference is, this style is not limited to a single way of drawing noses. Focus on having a clear voice and being good; then it won't matter as much whether you are making a line drawing or a painting or an abstract design.

Those are some good points. In that light I imagine diversifying is a good thing, though now Im curious which markets don't like diverse portfolios. I guess if there aren't many of them though it doesn't matter too much.

[arenhaus]

It's less of an issue of markets than it's an issue of art directors.

[Lot]

Everything here is interesting...

Before anything, sorry for my english, ok;

I think my relation whit directors is so poor, but i tell you what, i know how to deal whit a lot of "styles", i have my cartoon style whit a seudonym, my oils and watercolor style whit his seudonym...

If i were an art director or a campaing director who needs a drawer, i didn't mind if one person has diferent styles, in fact, you said it, people how needs a drawer, don't really mind about it.

[MythrilWolf]

It's less of an issue of markets than it's an issue of art directors.

Sounds about right. Individuals all have certain tastes and standards, etc. I guess I more or less wonder about the general, unspoken consensus among most of them. Going back to what Atreides said about different directors having different tastes, but those directors come from different industries that might deal with certain kinds of people who have certain tastes.

The majority of artists and non artists I have talked to about this issue dont always have exact examples they can give me about artists who have lost jobs because of their varied styles, but the general consensus seems to be that it would be better to er on the side of caution. Which makes me suspicious if maybe having pseudonyms is something that technically a varied artist doesn't need but in reality they do.

But I also think the points you've brought up make sense too, that it can hurt your image and networking to have pseudonyms. So...Im kind of torn on what to think here.

~~~~~


Lot:
I can understand what your saying, no worries. And I agree, I think as long as an artist has the skill to do the work, it shouldn't matter if they can do other types of styles and work. If I were hiring an artist, I would just look to see if they could do what I needed done and if they're easy to work with.

[HAJiME]

I'm concerned about this too. Well, I wasn't, but then my lecturers terrified me for not being a pigeon stuck in a hole.

I can understand the argument that if you're work is broad, how will your audience find you, but at the same time I've heard from a few professional illustrators that usually what happens is someone commissions work based on something they've already done. By that logic, the broader your work, the better?

I just get the feeling there isn't a simple answer to this. Many people do well and they are limited, whilst others do well and they are broad. I bet both sides often think it's BECAUSE they are limited or because they are broad, when really it's got little to do with it.

I don't want to be limited. I cannot see much benefit to me mentally or to anyone looking at my work producing the same thing over and over and over again. I follow a lot of art blogs, and I'm forever unfollowing them because they literally seem to be posting the same image over and over. It's USUALLY editorial illustrators who do this. Can't stand it. Does anyone really like looking at the same thing over and over? Really? Well I guess they must do, but for me, that's not appealing to do or look at. It seems like most of my lecturers are editorial based, as if it's some clever and amazing high ground of illustration, when really it's not even payed that well, is it? With horribly tight deadlines and. Yeah just, doesn't appeal. But it's been pushed and pushed and pushed on us.

I think people should just do what feels right and as your career develops it will become obvious what areas you need to push and develop or whatever... Just grow from what you naturally feel like you should do. If having two identities feels right, do it, personally I can't think of anything more horrible at this stage in my artistic development.

[MythrilWolf]

I'm concerned about this too. Well, I wasn't, but then my lecturers terrified me for not being a pigeon stuck in a hole.

I can understand the argument that if you're work is broad, how will your audience find you, but at the same time I've heard from a few professional illustrators that usually what happens is someone commissions work based on something they've already done. By that logic, the broader your work, the better?

I just get the feeling there isn't a simple answer to this. Many people do well and they are limited, whilst others do well and they are broad. I bet both sides often think it's BECAUSE they are limited or because they are broad, when really it's got little to do with it.

I don't want to be limited. I cannot see much benefit to me mentally or to anyone looking at my work producing the same thing over and over and over again. I follow a lot of art blogs, and I'm forever unfollowing them because they literally seem to be posting the same image over and over. It's USUALLY editorial illustrators who do this. Can't stand it. Does anyone really like looking at the same thing over and over? Really? Well I guess they must do, but for me, that's not appealing to do or look at. It seems like most of my lecturers are editorial based, as if it's some clever and amazing high ground of illustration, when really it's not even payed that well, is it? With horribly tight deadlines and. Yeah just, doesn't appeal. But it's been pushed and pushed and pushed on us.

I think people should just do what feels right and as your career develops it will become obvious what areas you need to push and develop or whatever... Just grow from what you naturally feel like you should do. If having two identities feels right, do it, personally I can't think of anything more horrible at this stage in my artistic development.

I agree very much with what you've said, and I share those sentiments about doing what feels right. At the end of the day that's all you can do.

What intrigues me is your 2nd paragraph, where you mentioned an artists success might have nothing to do with their genres diversity or specialty. Its an interesting idea, but if genre doesnt have much to do with it what else does? (Besides skill level of course) Or maybe skill level is all that matters? Im not sure thats the case but it's something to think on.

[arenhaus]

What intrigues me is your 2nd paragraph, where you mentioned an artists success might have nothing to do with their genres diversity or specialty. Its an interesting idea, but if genre doesnt have much to do with it what else does? (Besides skill level of course) Or maybe skill level is all that matters? Im not sure thats the case but it's something to think on.

Connections (knowing the right people) tends to matter a lot more than the skill level. Notoriety (exposure by media) also helps.

[HAJiME]

Connections (knowing the right people) tends to matter a lot more than the skill level. Notoriety (exposure by media) also helps.

Yup. Of course, you could argue there is a skill in being the sort of confident person able to get those connections. But, yeah, every opportunity I've come across has been through connections.

Always keep in contact.

[dpaint]

Connections (knowing the right people) tends to matter a lot more than the skill level. Notoriety (exposure by media) also helps.

This is BS. It is a lazy mans attitude, always blaming other people for a lack of work.The only reason artists aren't getting hired for something is other people applying are better than they are. People want the best they can afford. People are so used to getting ass pats for mediocrity they think they are good at something when most of them can't draw in even the basic ways. They can't draw buildings, or people, or animals, they don't do color, or they can't change styles, but they want to work as a production or concept artist.

Do you think that the artists at Pixar, Disney or Dreamworks get fired everytime they do a new film with a dfferent style? No, they just work in that style because they are pro's; there is no problem, if you can really draw and paint.

If all you can do is draw some crappy thing the same way over and over then you can't really draw. It shows a lack of understanding. Is it any wonder you can't get work as a professional artist?

[Flashback]

Do you think that the artists at Pixar, Disney or Dreamworks get fired everytime they do a new film with a dfferent style?

That will be a human-resources nightmare. I'm assuming they are full-time employees.
"Hi, welcome to our company! work on a few sketches and then you're fired. Ok, thanks! bye!"

PS: Unless the company has employment at-will.

[QueenGwenevere]

Do you think that the artists at Pixar, Disney or Dreamworks get fired everytime they do a new film with a dfferent style? No, they just work in that style because they are pro's; there is no problem, if you can really draw and paint.

Actually, Pixar does bring in freelancers to work on the concept side of things for specific films (Monsters Inc. temporarily brought in a number of major childrens' book illustrators, for instance. Ratatouille temporarily brought in Peter de Seve for character designs. And so forth.) But of course they do have their regular staff artists as well, all of them capable of a range of styles... and those artists stick around from film to film.

[dpaint]

Actually, Pixar does bring in freelancers to work on the concept side of things for specific films (Monsters Inc. temporarily brought in a number of major childrens' book illustrators, for instance. Ratatouille temporarily brought in Peter de Seve for character designs. And so forth.) But of course they do have their regular staff artists as well, all of them capable of a range of styles... and those artists stick around from film to film.

Yeah but they don't get rid of staff artists. You are making my point. If they want to do Brad Bird or Dr Zeuss they do it. Every movie starts with stylists that the production people emulate, this has always been true going back to Gustave Tengrenn and Pinocchio. Those people may or may not be a part of the industry or staff, depending on the project and the directors or producers vision for it.

[ikken]

That will be a human-resources nightmare. I'm assuming they are full-time employees.
"Hi, welcome to our company! work on a few sketches and then you're fired. Ok, thanks! bye!"

PS: Unless the company has employment at-will.

FFS, could you please think before you post shit like that?

[QueenGwenevere]

Yeah but they don't get rid of staff artists. You are making my point. If they want to do Brad Bird or Dr Zeuss they do it. Every movie starts with stylists that the production people emulate, this has always been true going back to Gustave Tengrenn and Pinocchio. Those people may or may not be a part of the industry or staff, depending on the project and the directors or producers vision for it.

I know, I wasn't opposing your point, just expanding on it...

Someone could be a specialist and be brought in for a specific project, or they could be a more flexible artist working on multiple projects as permanent staff... (For the matter of that, someone might be a flexible freelance artist brought in for various specific projects by various people...) There's a lot of different paths to getting work.

[Atreides]

FFS, could you please think before you post shit like that?

Relax. They were just trying to make a joke.

[MythrilWolf]

Its nice to hear that the art market seems to be very open ended when it comes to who they hire and for what reasons. In some ways its kind of frustrating since there's no easy answer, but if you're an artist that likes to do varied works or specializes in one area there's probably a place for you it seems like. At least that seems to be what Im gathering here. Very interesting stuff.