Style or versatile – what makes a successful illustrator

If you work independently you will no doubt have considered whether or not to specialise in an area of work. As an illustrator this can often feel like the holy grail - the aim is to find a ‘style’ that makes your work stand apart so everyone instantly recognises your work.

Many people use the term ‘style’ but what defines your work is more than just an aesthetic – your niche could also be specific industries you focus on, tailored services you provide or an ethos that runs throughout your processes. Whether intentional or not, your work gives out messages which dictate the sort of clients you attract. We create specialisms and unique styles in order to consolidate, offer tangible solutions and be desirable. We want to inject a unique personality into what we do.

How to find a niche

For most illustrators a unique identity evolves over many years of work and will likely come from a mixture of personal interests and client demands. Initially most of my illustrations were inspired by my love of food. A style of work evolved because I experimented with drawing food and drink using different techniques over a long period of time. I found ways of making my illustrations look life-like without muddying colours in watercolour, or making my work too twee. With the increase in requests for digital work at small scales, I also needed to find ways of simplifying detail and colour without compromising on my drawing. Once I had a body of consistent work I started to find other clients that needed a similar style of work, and then the practicalities of those clients meant I had to evolve again to make my work cover a wider range of subject matter. Styles don’t come overnight, if you choose to develop one. If you’re looking to develop a style of work, it helps to focus on the subjects and methods that interest you. Use that as a foundation for exploring new things around it. Get feedback from potential clients and other creative professionals on what works and what doesn’t.

Style vs versatility

As an illustrator I am usually expected to provide ‘aesthetics’ based on style. When working with art directors, they select work based on the style of illustration that would attract the right audience or that would visualise a concept more effectively. Illustration work is outsourced because it is appropriate for the job in hand. However, a lot of businesses don’t have in-house art directors or always know what style of work would be appropriate.

A style of work may help you to focus on jobs you find more rewarding, but it could also mean you have to turn down work. Contrary to what you may have been told in art school, a style is not the only reason someone may commission an illustrator. Sometimes I’m referred to because I’m efficient and amicable, other times I’m contacted because I’m listed high on google for certain specialisms or projects, other times someone just wants anyone who can draw. A lot of enquiries I simply don’t fit the bill for and I turn the work down. However, the reality of my day to day enquiries are such that more clients need visual problem solvers than they do illustrators. It’s my choice to turn the work down or think a little differently about how I can help.

Can you afford to work in one style?

In a recent survey of over a thousand illustrators, 69% said they do not earn enough to live off illustration alone. For many illustrators there is a need to be versatile in order to survive, or else take on other work to support their craft. This goes against what we’ve been taught – that to be successful we need to master only one way of working really well. In the quest for creative style, there is often an undertone of snobbery against a ‘jack of all trades’ mentality, meaning that those coming into the industry are expected to get enough work from only one way of working. It’s easy for privileged artists to turn their nose up at people taking on other forms of work, but it is also less of a risk for them to turn down work. If your style of work isn’t bringing in the money, how can you ensure you invest in it without compromising on it? Do you have another income to support you while you’re building it to prevent you trying to work in too many ways as an illustrator?

Your work is your brand

Although the curve is steeper, developing a unique style ultimately acts as your ‘brand’ – people come to recognise your work, sometimes regardless of whether your name is next it. You become ‘known’ for something – a specialist. This may also mean you can charge higher and get clients who respect your work, rather than clients who just want something quick and cheap. If a client has got in touch because of your style, they are more likely to wait for you and pay you well because they value it. Having a style makes it easier to market yourself as an individual – it makes things consistent. This isn’t to say that versatile artists can’t be known for the good work they do, but more than likely this will be less obvious. There may be stylised artists who are well known but don’t earn as much as those that take on many different forms of work.

Pros and cons

Pros for having a specialism or style

• You’re more likely to be well known for something.
• You’re more likely to get an agent.
• You get a beautiful looking Instagram account.
• You get to develop one craft really really well.
• People have a good idea of the outcome of a project will be before they commission you

Pros for versatility

• You can be more experimental and explore other areas of visual communication.
• You can problem solve more effectively for a wider range of projects/clients.
• You can take on projects from start to finish and have more of a say in the outcome.
• You can build a wider community of collaborators and contacts
• You can provide a more personalised service for your clients.

Cons for having a specialism or style

• You usually have to work in the same way and may risk boredom
• You have to turn down or hide any work that goes against your style.
• You can only work with a limited number of businesses.
• It’s tough to make enough money from one style of work unless you have an agent/well connected family and friends

Cons for being versatile.

• People may find it hard to know what they’re going to get from you.
• Your work may get watered down and lose impact.
• You are more likely to have your work exploited (it’s not as obvious if someone has plaigerised your work because it is not recognisably yours)
• You may be less likely to work with bigger clients unless you are an agency
• You may have too many things to juggle and not become a master in your craft.

Practicality vs aesthetics

Often commissioners of creative work need a problem solving, such as a label design in order to give clear information, or an illustrated map to indicate directions. With every project taken on board there needs to be some understanding of the practicality of it practicality, but if this is all we are considering then there is a problem with the end result. In order to create work that is effective we have to consider the ‘user experience’ - how does this design make someone feel? Would they invest in it? Often the best designers combine the the two things to make sure problems are solved well – using the same style for every ‘problem’ would not be appropriate. It all depends on whether you enjoy art-directing and designing as well as illustrating, or whether you’re happy to be told what to do in your style and wipe your hands of the outcome. The key to being successful with either method is down to the clients you work with and whether you can solve their problems in the right ways.

Problem solving means you have to make a decision whether to advise on the best solution for a client over simply doing the work in one style. You have to make a choice whether to offer more versatile solutions for greater effectiveness or to always offer one way of working because you’re bloody good at it. Being versatile in approach risks watering down your unique stamp on the work, making your portfolio inconsistent.

What sets you apart might be more than a ‘style’.

Sometimes people come to me for an illustration and I have to say: I think you need photography here, or I think you need to look at your brand first. Sometimes that means passing work on to someone else, and other times it means taking on the project with more art-direction. Creativity by nature is curious. Having a ‘creative voice’ shouldn’t mean abandoning exploration, even if you choose to work in one style. It’s helpful to push your work as far as you can within limitations. When it comes to a client who needs a problem solving, can you suggest ways of helping that doesn’t compromise your work? Similarly, it may be helpful to focus on specific industries, but push your work as far as you can within those limitations. Think about how your ethos and your processes can set you apart as well as an aesthetic.

Why I’ve separated my services

Of course, you can have the best of both worlds, but this takes a bit of juggling. For me this was necessary in order to maintain regular contracts with clients who needed more of an art-direction approach, such as brand work for larger organisations. However, I had built up a reputation as an.illustrator and I didn’t want to sabotage a clear body of work that was getting me work I enjoyed. Working under a business name also allowed me to expand and collaborate with others more effectively, taking on much bigger projects.

I made the decision to set up a new business so I could make it clear for clients what services they were getting (and also what services they were not getting!). If someone commissions me as an illustrator, based on the work they see on my site, it is clear they are paying for a specific aesthetic. If someone gets in touch with my company, I know they are interested in a process that solves problems, involving more consultancy and, bringing in other specialists, such as web developers and copyrighters,.

If you work in lots of styles, think about how you can make it easier for clients to hire you. Is it obvious how you work or is it confusing? Can you create categories or show processes more clearly? In the end what sets you apart is defined not only by you but your clients. How is your style or your niche benefitting them? How are your processes going to make the job smoother for them? If your style is solely about making a name for yourself, how much depth does the work have? For me visual communication is far more than just an aesthetic – good creative work should say more about who it was made for over who it was made by. I am not overly concerned with winning awards or being a world renowned artist, I am interested in good work that brings something unique.

So what do you think? Should creatives stick to one style of work? Has working in different styles been effective for you? Would love to know your thoughts.