By Mark Stutzman
A global pandemic abruptly altered the interpersonal relationships that exemplify the creative team experience, shifting the everyday realities of artists, art directors, and branding professionals worldwide. Yet, creative professionals—people who naturally live on the edge of convention—have proven to be remarkably pliable and technologically skilled. This adaptability has allowed them to migrate their work disciplines seamlessly into their homes. Suddenly, the entire creative industry, much like countless other sectors, has been thrust into living the lifestyle of a freelancer, tethered together only by Wi-Fi connections and self-governance.
Illustrators and art buyers now share an independent commonality unlike ever before in the modern era. Since the golden age of illustration in the 1930s, the dynamic between the maker of art and the buyer has been distinctly separate. Historically, an artist’s life existed in stark contrast to the office-dwelling cohorts who paved the way for anticipated art campaigns. Outside talent would occasionally visit the workplace to share a physical portfolio, hoping to make a lasting impression and snag a new assignment.
Whichever way one sells a product or service, illustration ultimately emerges from a joint interest in making something new and unique. The one-on-one exchange between art directors, art buyers, clients, editors, producers, film directors, and ideally, the artist remains a constant place for true synergism. This treasured collaboration provides fertile ground for inventing and reflecting memorable images of who we are. Our cultural and societal narratives, alongside shared aesthetics, continually make for great illustrations.
Besides the fading in-person interview, art directors once relied heavily on their Rolodex files—the modern equivalent being digital contact databases—alongside artists’ directories and direct-mail promotional pieces to keep up with industry trends and emerging talent. Portfolio review days, which essentially functioned as speed-dating events for creatives, were once a popular way to streamline the search for new talent and seek bonds with creatives outside traditional office walls. The field has always been fiercely competitive, and cultivating up-and-coming talent or employing seasoned veterans has long been a reliable path for art directors and designers to earn prestigious awards and professional recognition.
Finding that talent can be a daunting and ongoing endeavor, according to Eng-San Kho, one of the partners at Love & War, a small but chic Manhattan branding agency. He vividly remembers a time when his office was constantly inundated with physical sales sheets and promotional postcards from artists and photographers. These marketing materials typically fell into three distinct categories: some samples were discarded immediately, some were saved for later consideration, and a precious few were pinned directly to the studio walls. Today, online search engines make finding talent somewhat easier for art directors like Kho, but the modern task of sifting through endless options and complex search criteria can still feel entirely all-consuming.
As art directors and buyers cull the internet for viable talent, however, stock catalogs and in-house digital images continually gnaw away at commissioned work.
"If we’re up against a tight deadline, we often rely on stock photography," Kho explains, highlighting the economic pressures of modern media production. "The cost of licensing existing art versus commissioning new art is often easier."
Consequently, the authentic touch of the artist’s hand can easily be substituted with cobbled-together imagery and digital tricks of the trade. Although these assemblages can look polished and visually appealing, they frequently pale next to the magic that emerges from actively collaborating minds. Stock imagery and digital shortcuts may fill empty space on a page nonetheless, and they do so without requiring outside services or expanding tight creative budgets.
Kho explains that some clients simply may not possess the bandwidth to handle the nuanced creative process that comes with commissioning original work. Managing an artist can sometimes impose greater demands than corporate clients can professionally manage. However, when someone on staff is deeply familiar with developing original concepts for illustration, they can effectively coach coworkers and clients alike, transforming the commissioning process into an enjoyable and exciting endeavor.
The digital age is now simmering as a staple of everyday life, crossing every demographic and cultural boundary. In this environment, standing out has become increasingly difficult when every designer has access to the exact same software tools and stock imagery libraries. A pervasive visual sameness can safely feel on-trend, but it ultimately misses the raw individuality of fabricating art completely out of thin air.
Interestingly enough, this very dearth of originality is carving out a renewed place for traditional illustration. Some firms are actively engaged in reviving the tradition of print media and tangible product premiums, striving to reach audiences with a tactile advantage—something their digital-only competitors may not be able to afford. There is a growing awareness and appreciation for traditional visual media, alongside hand-crafted art, amidst the vast digital glut of software effects artificially aimed to resemble true illustration.
Technology effortlessly connects everyone, but the convenience of a simple click can also build a virtual wall characterized by single-dimension communication. Working on a project from start to finish without ever speaking in-person has become entirely possible, but professionals warn that no one should fall prey to this isolating trap. Each new project is inherently an opportunity to foster camaraderie, trust, and genuine inspiration between creative services, and the final product invariably benefits from those fundamental human tenets.
Greg Burke, Senior Creative Director at Atlantic Records, is constantly searching to see what visual talent is available to him, knowing that branding music is never a one-size-fits-all proposition. He is tasked with the complex role of developing visual continuity for top recording artists on multiple levels simultaneously. Developing imagery, packaging, and merchandise is a labyrinth riddled with subtlety. The nuance, uniqueness, and core essence of each recording artist’s distinct sound must translate into thoughtful imagery that accurately represents them to the public.
For many years, Burke has bookmarked his favorite artists in hopes that one day, the right project will ignite a fresh working relationship. He sometimes seeks creative talent that specifically fits a singular assignment, while new searches, driven by a specific creative direction, keep him continually adding to his collection of illustrator names. Burke’s years of industry experience have taught him that some illustrators’ styles may evolve over time, meaning old references he fondly recalls for an immediate project may no longer be part of their active repertoire. Even so, keeping his reference arsenal handy consistently helps spark new ideas.
Burke’s search criteria always begin by finding fundamentally talented individuals. He then carefully examines the broader body of work an artist has curated to ensure that a single striking image catching his eye is not merely a fluke, but rather consistent with their larger creative output.
"There are times when you may see an image that you love, but the rest of the portfolio is inconsistent and all over the place," Burke notes.
He is reassured when each portfolio piece is just as strong as the one that initially reeled him in. He is also entirely comfortable with artists maintaining diverse styles, provided they show genuine mastery in each discipline. When shopping for an artist, Burke looks at the collective strength of an work to prove they can habitually fulfill a specific creative direction.
As a professional courtesy to the talent and to preserve the overall integrity of a project, Burke states he will never ask an artist to create something he is not confident is firmly within the scope of what that artist can execute. In his professional opinion, doing otherwise is simply setting the collaboration up for failure.
Given the reality of hard production deadlines, Burke requires unwavering professionalism from every artist he hires. Knowing that each person works differently, he routinely engages in direct conversations regarding timing and process. As a reliable gauge, Burke will select a completed piece from an artist’s portfolio and ask how long it took from start to finish, allowing a realistic project schedule to be built directly from that example.
Spicing Things Up
Kho and his team are deeply passionate about infusing original art into their agency work whenever the opportunity arises.
"We try out a specific artist who might not be the obvious choice for a project," he says, describing their experimental approach. "We like to see what they’ll bring to the table."
More often than not, Love & War carefully tailors the assignment to the artist in the exact same way they fit their broader work to their client’s needs. Ultimately, the focus remains on ensuring the work serves the targeted audience and meets established business goals, rather than being rigidly dictated by a fleeting design agenda or trend.
Maintaining strong artist relationships is paramount to Kho and his team, who eagerly take advantage of video calls whenever possible. Being able to see the person they are speaking with personalizes and expedites much of the day-to-day working process. Kho also appreciates that the artwork takes center stage through the screen-share option during video calls with clients, eliminating room distractions and directing all attention entirely onto the presentation.
Their team genuinely values having creative people they can consistently rely on or keep queued for future work. Returning to an established, healthy working relationship adds an invaluable level of confidence and operational efficiency that Kho says helps every project run much more smoothly overall.
When Eyes Meet
Greg Burke describes the personal relationship with talent a bit differently depending on the specific circumstances of the project.
"There are illustrators who will always be a go-to because of the quality of their work and their great communication skills," Burke explains. "Pero there are times that a project will be a one-off, and you are fully aware that you may not be using this illustrator again."
Creative briefs can also dictate precisely how much Burke needs to steer a project. Sometimes the assignment requires strict control over the final product, whereas others allow for significantly more flexibility and direct input from the artist. Art directors like Burke want the artists they work with to fully understand the inherent parameters of commercial art. Commercial art frequently comes with the inevitable disappointment of heavy client input, making it essential for artists to comprehend the strict confines of the trade.
There is a distinct, undeniable difference between commercial art and fine art. Art directors deeply appreciate illustrators who embrace the commercial world and recognize that sometimes they have to take one for the team rather than solely indulging individual expression.
"An illustrator must also understand that at times directions for revision will come from a recording artist or other outside sources," Burke says.
He readily realizes that any necessary revisions mandated to appease a client may not necessarily enhance the aesthetic quality of the artwork. In those challenging moments, both he and the illustrator share in the mutual disappointment. Yet, strong professional bonds can form throughout the arduous journey of pleasing clients, even if the final outcome strays far from the original artistic inspiration.
How this valued relationship first begins between an illustrator and a commissioning body can vary wildly. It may result from a deliberate search using professional directories like the Workbook or through trusted referrals from industry colleagues. Love & War similarly relies heavily on word-of-mouth referrals for new business, talent connections, and everything in between.
"We don’t seek referrals for new commissions, but we do our best to spend enough time interviewing newly found illustrators to make sure we’re all aligned on scope and expectations," Kho says.
Internal conflicts can occasionally arise regarding whether an art director should share newly discovered talent. On one hand, when Burke finds an illustrator he loves, he naturally wants a degree of exclusivity; on the other hand, he firmly believes talented artists should never miss out on other lucrative opportunities.
"I freely share illustrators whom I respect and whose work I admire with colleagues," Burke says proudly. "I’m a little jealous when someone else gets to use one of my recommendations that I may never get to use myself, but I get over that pretty quickly when I see the amazing work in the end."
Burke also reserves his artist recommendations strictly for art directors he respects. His ongoing experience in creative matchmaking is the direct product of his deep interest in facilitating impressive visual work across the industry.
Ultimately, relationship-building remains an essential pillar for sustaining a long-term career as an illustrator. Work is rarely as plentiful as it once was, meaning that solidifying connections can keep crucial doors open for future assignments. If each new relationship results in only a single project, maintaining a full professional schedule requires an exhaustive roster of new clients. Furthermore, as Kho points out, actual illustration assignments are not part of every incoming project; much of what branding agencies do involves design solutions that may not require illustrative works at all.
For an illustrator, building valued and sustainable professional relationships ultimately boils down to a few core elements: consistently meeting deadlines, delivering high-quality and reliable work, maintaining clear communication, and accommodating a client’s evolving needs. A successful commission is ultimately measured by delivering precisely what has been promised to the client.
Creating commercial art for a living will always present unique challenges and remain in a state of constant evolution. But so long as the unchangeable foundation of human connection continues to propel the kinship between artist and buyer, both entities can look forward to a very bright future indeed.
Article Author Mark Stutzman is best known for his iconic rendition of the young Elvis Presley U.S. Postage Stamp. Stutzman’s illustrations are widely used in advertising, product packaging, posters, magazines, book covers, and other niche markets. His work is especially prominent in the entertainment industry, including Broadway productions such as Young Frankenstein the Musical and Annie Get Your Gun, as well as illusionist David Blaine’s mystical event art posters. He has created artwork and promotional premiums for major motion pictures including Batman, Jurassic Park, and Space Jam, designed book covers for Stephen King, and established himself as an acclaimed playing card artist. With a prestigious client list featuring McDonald’s, DC Comics, MAD Magazine, The New Yorker, Nickelodeon, Rolling Stone, Microsoft, Time, and Esquire, Stutzman has spent decades influencing diverse cultural worlds through his illustrative works.
